Born To Watch - A Movie Podcast

Our Blade Runner 1982 Review takes Born to Watch into a future where it never stops raining, everyone needs better lighting, and Harrison Ford gets absolutely belted at work. Whitey and Damo revisit Ridley Scott's science fiction classic to ask whether its extraordinary world still delivers an equally extraordinary movie. There are replicants, questionable police procedures, suspiciously fresh family photographs and one enormous question hanging over everything: is Rick Deckard actually human?

For both hosts, the relationship with Blade Runner started with expectations the film had absolutely no intention of meeting. When you grow up loving Han Solo, another science fiction movie starring Harrison Ford sounds like a guaranteed good time. Damo even headed to the cinema expecting something closer to Star Wars. Instead, he got existential dread, artificial humans and a detective who spends considerably more time getting punched than saving the galaxy.

Revisiting it now brings a different appreciation. Whitey and Damo find themselves drawn into the atmosphere, the moral questions and a city that feels exhausted before the opening investigation even begins. This is a future built on the bones of the past, with ageing buildings, crowded streets, and noodle bars that look far more inviting than the job prospects. Whitey would happily order dinner there. Taking Deckard's job is another matter entirely.

The world itself earns some of the episode's strongest praise. Neon cuts through the rain, advertising looms overhead, and light creeps through rooms that seem permanently allergic to sunshine. The boys discuss how the cinematography and production design make the setting feel tangible, dirty, and lived-in. Vangelis' score adds another layer, blending so closely with the atmosphere that Damo questions where the music finishes and the surrounding world actually begins.

Then there is Deckard, supposedly the bloke you call when dangerous replicants need tracking down. Damo runs through his fighting record and discovers a fairly alarming pattern: he keeps losing. Zhora, Leon, Pris, and Roy Batty all make his life difficult. Whitey enjoys having a vulnerable, battered leading man, but Damo reckons any argument that Deckard is secretly a superior artificial human needs to explain why he is so physically hopeless.

That opens the door to the episode's biggest discussion. Whitey unpacks the unicorn dream, Gaff's origami and the possibility of implanted memories. If somebody else knows what Deckard dreams about, what does that suggest about his identity? The boys consider the clues without pretending the question has a simple answer. Another complication is that different cuts change the experience, and these two have not necessarily watched the same version.

Roy Batty brings a different kind of uncertainty. Whitey and Damo explore his desire to live, his final act of compassion and the uncomfortable possibility that the hunted demonstrate more humanity than their hunter. Rutger Hauer's rooftop scene gets its moment, alongside a discussion about whether calling these killings "retirements" makes them any less brutal. Rachael's memories and Deckard's treatment of her add further questions about identity, empathy and behaviour that has aged poorly.

Naturally, this remains Born to Watch, so the philosophical discussion shares space with some deeply necessary nonsense. Complaints include questionable hairstyles, a photo machine that apparently sees around corners, and a trailer that seems determined to show half the movie.
Daryl Hannah's performance as Pris gets attention, as does the spectacularly poor decision to add unnecessary gymnastics when your opponent is already struggling. Sometimes finishing the job should take priority over showing off.

The Good, the Bad and the Ugly weighs magnificent filmmaking against a deliberate pace, while the conversation also makes room for Blade Runner 2049 and the original's many versions. Can a film be visually astonishing and still leave you wanting more momentum? Whitey and Damo wrestle with exactly that. Add the Snorbs Report and Damo's Kickass Credit Song, "LA Summer", and there is plenty here beyond the unicorn debate alone.

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Is Deckard human, which cut do you prefer, and does Blade Runner get better every time you watch it?
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Our Scream (1996) Review takes Born to Watch into Woodsboro, where answering the phone is dangerous and throwing a party during a killing spree apparently makes perfect sense. Welcome to the movie review podcast where we do not take the movies or ourselves too seriously. This time, Matt welcomes longtime listener and horror enthusiast Sean Hopkins, the movie lover behind @Moviedad16, for a Halloween double shot with Ghostface.

With the usual crew less enthusiastic about horror, Matt has recruited someone who knows this film backwards. Sean first saw Scream at thirteen on a trip to the cinema with his dad, and he promptly became obsessed. Once the VHS arrived, repeat viewings became practically compulsory. Decades later, that enthusiasm remains, making him the perfect guest to revisit a movie that turned horror trivia into a potential survival skill.

For Matt, this is another trip back to his cinema-going prime, with the added perspective of introducing Scream to his own family. Their shared affection sets the scene, but nobody gets a free pass. Loving a film and questioning its increasingly ridiculous decisions can absolutely happen at the same time, especially when there is a bloke wandering around a supermarket dressed like the town’s most wanted murderer.

Wes Craven's direction and Kevin Williamson's screenplay give the conversation plenty to chew on. The boys explore a slasher that understands the clichés, openly discusses them and still finds ways to make its characters stumble straight into trouble. Is knowing the rules enough when everyone keeps breaking them? And can a movie take the piss out of horror logic while occasionally relying on exactly the same nonsense?

The opening sequence gets plenty of attention, with Drew Barrymore's performance, the escalating phone calls and the horror quiz setting an unforgettable tone. Sean remembers sitting in the cinema convinced his movie knowledge would have helped him survive. Matt brings a slightly more practical suggestion: stop chatting to the threatening stranger and call the bloody police. Sometimes the smartest answer is refusing to play the game.

The cast discussion covers Neve Campbell's Sidney Prescott, Courteney Cox's determined Gale Weathers, David Arquette's well-meaning Dewey and the memorable supporting players. Matthew Lillard sparks a particularly entertaining difference of opinion, with Sean praising his personality and best lines while Matt questions some of his bigger acting choices. Rose McGowan, Jamie Kennedy, Skeet Ulrich and Henry Winkler also come under the Born to Watch microscope, with nobody escaping a little scrutiny.

Randy's video shop expertise opens the door to some proper nostalgia. Sean recalls dreaming of a job recommending movies, while Matt reflects on owning a video shop and learning to identify films from customers' gloriously vague descriptions. It is a reminder of when choosing your Friday night entertainment involved shelves, cover art and a conversation with someone who had probably watched far too many trailers.

Then comes Question Time, where Woodsboro's common sense takes a beating. Why are certain people sharing space at the police station? Why does nobody screen the calls? Where are the parents? And why is everyone so relaxed about attending a party while a killer is on the loose? The garage sequence also gets investigated, with serious doubts about a door's lifting capacity and the wisdom of choosing a cat flap as an escape route.

The Good, the Bad and the Ugly balances appreciation for the opening, pacing, movie references and party finale with complaints about convenient timing, questionable behaviour and an ending that arrives awfully quickly. Along the way, the conversation detours into cinema etiquette, noisy teenagers and why Sean prefers his horror screenings with as few other people as possible. Apparently, surviving Ghostface is one thing, but surviving a chatty cinema is another.

The show also returns to 1996 with Fargo, Kingpin, Barb Wire, and The Frighteners, plus the usual quickfire nonsense. Whether you grew up renting Scream or discovered it through the sequels, join Matt and Sean for laughs, nostalgia and affectionate nitpicking.

Listen now, follow Born to Watch, leave a review and share this episode with the mate who reckons they know every horror rule. Then ask them whether they would actually survive Woodsboro after dark, without their phone, their parents or a working escape plan.

#BornToWatch #Scream1996 #ScreamReview #Ghostface #WesCraven #HorrorMovies #MovieReviewPodcast #SlasherMovies #90sMovies #MovieDad16

Our Halloween 1978 Review takes Born to Watch to Haddonfield, where the hedges are suspicious, the babysitters are distracted, and a bloke in a white mask has somehow mastered driving without a licence. Whitey, Gow, Damo and Dan revisit John Carpenter's horror landmark to ask a question guaranteed to upset somebody: does the original Halloween still deliver the goods, or has its legendary reputation become scarier than the film itself?

This is no polite gathering of horror devotees worshipping at the altar of Michael Myers. The boys arrive with very different histories with the film, and those differences quickly become the main event. Whitey has watched it repeatedly over the years, but this latest viewing challenges his memories. Gow considers the gap between an iconic character and an entertaining movie. Damo discovers that a film he assumed he knew might actually be a first watch. And Dan? Let's just say Haddonfield won't be getting a glowing tourism review.

Before the knives come out, the discussion explores Halloween's place in horror history. Whitey puts it alongside Psycho, Night of the Living Dead and The Texas Chain Saw Massacre as a defining influence on the genre. That opens a debate about the films that shaped modern scares, the difference between tension and gore, and whether historical importance should earn a movie extra credit when you're watching it today.

At the centre of the episode is Carpenter's approach to suspense. Michael appearing behind hedges, watching from a distance and emerging from darkness gives Damo plenty to appreciate. Others are less convinced that all that stalking translates into enough excitement. Is the quiet suburban setting a masterclass in making ordinary spaces feel unsafe, or are we spending an awful lot of time waiting for someone to cross the road?

Then there's the music. Carpenter's unmistakable theme receives serious attention as the boys debate where it belongs among cinema's most recognisable scores. From Jaws and Star Wars to The Exorcist and The Terminator, the comparisons come thick and fast. Whatever their disagreements about the film, that simple, unsettling sound gives everyone something to talk about. Can a score carry the fear when the action isn't doing it for you?

Jamie Lee Curtis's Laurie Strode and Donald Pleasence's Dr Loomis also face the Born to Watch treatment. Laurie's place in horror history meets practical questions about survival, while Loomis's warnings spark a discussion about whether anyone in Haddonfield is taking the situation seriously enough. Michael's unexplained driving ability, the locals' relaxed response to suspicious behaviour, and some questionable decisions around an apparently defeated killer all attract attention.

The Good, the Bad and the Ugly leaves plenty of room for disagreement. There's appreciation for memorable imagery, including Michael's mask materialising from the shadows, alongside frustration with dialogue, pacing and character choices. The original trailer also gets a serve for apparently being determined to show viewers far more than it should. If you've ever shouted at a horror character to finish the job, you'll feel right at home.

Behind the scenes, the boys discuss the tiny production budget, the origins of that famous mask, and the Hitchcock connections woven through the film. Film School for F-Wits turns its attention to Donald Pleasence, following a career that stretches from Bond villainy to Wake in Fright and Escape from New York. Naturally, even a little film education comes with interruptions, tangents, and someone not listening when they probably should.

And because this is Born to Watch, the evening wouldn't be complete without Gow's latest musical contribution. His Halloween-inspired hit brings Haddonfield into the podcast's own ridiculous universe, proving that even an unstoppable masked killer can become material for a very questionable rhyme.

The Rank Bank awaits, but you'll need to listen to discover where Halloween lands. Before that, expect nostalgia, disagreement and four blokes testing the distance between a film’s reputation and their own enjoyment.

Does Halloween still give you the creeps, or are the boys saying what you've secretly thought for years?
Listen, tell us whose take you agree with, and share the episode with the mate who insists Michael Myers is untouchable.
Follow Born to Watch and leave a review, preferably before the heavy breathing starts outside your window.

#BornToWatch #Halloween1978 #HalloweenReview #MichaelMyers #JohnCarpenter #JamieLeeCurtis #DonaldPleasence #HorrorPodcast #MovieReviewPodcast #SlasherMovies

Our Under Siege 1992 Review brings Born to Watch aboard the USS Missouri, where the catering is questionable, the security is worse, and the cook is apparently the ship's most dangerous bloke. Welcome to the movie review podcast where we don’t take the movies or ourselves too seriously.
This week, Whitey and Damo welcome back Will to revisit Steven Seagal's battleship blockbuster.

After previous encounters with Above the Law and Hard to Kill, the boys return to the Seagal catalogue with a rather uncomfortable possibility: this one might actually be good. Has Casey Ryback finally given them an action hero worth getting behind? Or does Under Siege work because Tommy Lee Jones and Gary Busey do enough heavy lifting to keep the whole battleship afloat?

The setup is beautifully ridiculous. A birthday celebration aboard a heavily armed warship turns into a hostile takeover when the entertainment arrives with something far nastier than a disappointing set list. Rogue operative William Strannix and disgruntled officer Commander Krill eye the ship's weapons. Unfortunately for them, the bloke making dinner has a résumé that extends well beyond fish stew.

Whitey brings serious history with this movie, remembering a cinema experience that delivered everything his teenage action appetite required. Will revisits a favourite from the family living room, while Damo discovers that some of the violence is considerably nastier than memory suggested. Together, they explore that familiar question: are we watching a genuinely entertaining action film, or just enjoying the warm glow of video shop nostalgia?

Tommy Lee Jones quickly becomes a major talking point. His ranting, swaggering Strannix dominates the conversation as the boys debate whether his performance is charismatic villainy, cartoon chaos, or a little of both. Gary Busey provides another generous helping of madness, including line readings that practically demand their own segment. When these two share the screen, subtlety has clearly been ordered to abandon ship.

Then there's Seagal himself. The boys examine a surprisingly sociable Casey Ryback, his kitchen banter, his deadpan jokes and the unusual experience of seeing him share the spotlight. Naturally, nobody escapes scrutiny for long. His facial expressions, action poses and approach to running all receive the kind of affectionate interrogation you would expect from a Born to Watch return visit.

Erika Eleniak's Jordan Tate also gets plenty of attention, from the unforgettable birthday cake entrance to her involvement in the increasingly chaotic rescue mission. Damo finds something to appreciate in her character's progression, while the conversation inevitably wanders into the teenage memories attached to one of the decade's most talked-about action movie moments. Yes, the cake gets its own extended discussion. Of course it does. Would you expect anything less here?

Question Time takes aim at a plan with more moving parts than the Missouri's engine room.
Who is paying the mercenaries?
Why does almost nobody know the cook's background?
How does a warship become this vulnerable to a party booking?
And why does the military response feel so restrained when the stakes are this enormous?
The boys have questions, and military competence is taking heavy fire.

Along the way, there's kitchen dancing, questionable bouillabaisse, suspiciously rare roast beef and a discussion about the irresistible power of Voodoo Child. The action invites comparisons to Die Hard, Rambo, and MacGyver, while The Good, the Bad and the Ugly separates the entertaining spectacle from the moments that collapse under even the gentlest examination.

Film School for F-Wits heads into Hollywood's spec-script boom, exploring Under Siege's original title, Dreadnought, and the era when original screenplays drew enormous bidding wars. Whitey follows that conversation with another original Kick Arse Credit Song, because apparently reviewing a battleship hijacking also requires a musical tribute to Miss July.

Expect nostalgia, ridiculous tangents, enthusiastic arguments and three blokes trying to survive some truly regrettable Vodka Cruisers. Under Siege gives them plenty to chew on, even if nobody is volunteering for another serving of that fish stew.

Listen now, follow Born to Watch, and share this episode with the mate who still insists Seagal belongs among the action greats.
Then tell us: is Under Siege his finest hour, or do the villains deserve the Captain's chair?

#BornToWatch #UnderSiege #UnderSiege1992 #StevenSeagal #TommyLeeJones #GaryBusey #ErikaEleniak #MovieReviewPodcast #90sActionMovies #MovieNostalgia

Lake Placid 1999 Review takes Born to Watch into murky water, where the crocodile is enormous, the plans are questionable, and the arguments are anything but peaceful. Welcome to the Movie Review Podcast, where we do not take the movies or ourselves too seriously. This week, Whitey, Gow and Dan tackle a creature feature that mixes bloody attacks with sarcastic dialogue, familiar faces and an efficient runtime.

At just 82 minutes, Lake Placid offers something the boys would happily see more often: a movie that gets on with it. Whether those minutes are well spent is another matter entirely. Whitey remembers seeing it at the cinema and has returned to its oversized reptile plenty of times. Gow arrives with fresh eyes. Dan arrives wondering why anyone thought this was a good idea. Naturally, that makes for an uncomfortable trip to the lake.

The setup is simple. A gruesome death in a remote Maine lake brings together a game warden, a sheriff, a visiting palaeontologist and a wealthy crocodile enthusiast. Something beneath the surface has a serious appetite, and this unlikely collection of investigators needs to work out what they are dealing with. The boys immediately have questions, starting with why a museum expert gets the call when someone with crocodile experience might have been useful.

Then there is the cast. Bill Pullman, Bridget Fonda, Oliver Platt, Brendan Gleeson and Betty White give this B-grade adventure a strong line-up. Gow runs through the careers behind those familiar faces, while Whitey considers whether the performances lift the material. Dan might be fighting the premise, but even he finds things to enjoy when the right characters start trading insults. There is room for disagreement beyond simply liking or hating the movie.

Oliver Platt and Brendan Gleeson provide one of the episode's biggest talking points. Their exchanges, petty clashes and ridiculous karate moment give the boys plenty to work with. Betty White adds another layer through a performance packed with unexpected bite and rude dialogue. When the conversation turns to memorable lines, there is no shortage of candidates. A giant crocodile might sell the poster, but the humans competing to deliver the sharpest insult keep this discussion moving.

Bridget Fonda's Kelly Scott inspires a different argument. Whitey and Gow struggle with the character's constant complaints, while Dan finds her exaggerated delivery more entertaining. Bill Pullman's performance also comes under scrutiny, with the boys questioning the romantic chemistry and whether their supposed leading man looks excited to be there. It is another reminder that the same scene can land very differently depending on who is watching it.

Of course, nobody escapes the practical questions. Why investigate a suspected man-eating creature in tiny canoes? How long can that helicopter possibly hover? And would closing the lake solve a fair chunk of the problem?
The Good, the Bad and the Ugly pulls apart the film's comedy, tension, effects, and questionable decisions, while its discussion of Jaws connections explores what happens when familiar monster-movie ingredients get a cheekier treatment.

Film School for F-Wits gives Dan a chance to explore the practical crocodile effects and the challenge of framing an enormous creature alongside actors exchanging dialogue. Stan Winston's animatronic work becomes a welcome talking point, particularly as the boys separate the physical effects they enjoy from digital moments that have aged less gracefully. Add cast trivia, the Kurt Russell connections and Quick Fire, and there is plenty beyond the question of whether the crocodile looks convincing.

Then comes Dan's Kick Ass Credit Song, a performance that finds a very different predator to sing about and gives absent Damo some attention he probably did not request. It is exactly the sort of detour that turns a monster-movie review into a Born to Watch episode. Expect strong opinions, personal sledging, and laughter that respects staying on topic very little.

Is Lake Placid an easy creature-feature escape, or does it deserve better?
Listen to the episode, then tell us whose take you agree with.
Subscribe to Born to Watch, share this episode with your favourite monster-movie mate and leave a review. Before your next lakeside holiday, you might want to reconsider canoeing.

#BornToWatch #LakePlacid #LakePlacid1999 #LakePlacidReview #MovieReviewPodcast #CreatureFeature #BettyWhite #OliverPlatt #BrendanGleeson #90sMovies

Wild Things 1998 Review takes Born to Watch into the steamy, suspicious world of Blue Bay, Florida. Whitey, Gow and Damo revisit the film that sold a generation on its trailer, its cast and a certain swimming pool scene. Nearly three decades later, does the thriller itself hold up once everyone has stopped pausing the VHS?

Matt Dillon plays Sam Lombardo, a high school guidance counsellor accused of assault by wealthy student Kelly Van Ryan, played by Denise Richards. Neve Campbell’s Suzie Toller adds another allegation, Kevin Bacon’s detective Ray Duquette investigates, and Bill Murray arrives as the lawyer who seems to be having considerably more fun than anyone else. That is the setup. What follows is a pile-up of schemes, betrayals and reveals that sends the boys back through the plot to work out who knew what, and when.

For Whitey and Damo, this is a trip back to seeing Wild Things at the cinema in 1998. The trailer did its job, but their memories of the film are rather more selective. Gow has watched it more often and remembers enjoying the twists. On this rewatch, the three compare the movie they thought they knew with the one actually playing in front of them. Just how much of its provocative reputation comes from a handful of scenes?

The discussion turns to the performances. Is Dillon playing Sam as brooding and mysterious, or is something missing? Does Campbell's character give away more than the film intends? And why does Murray, with relatively little screen time, feel like the only cast member who understands the sort of movie he is in? Richards, Bacon and Theresa Russell all get their moment under the Born to Watch microscope too.

Then there are the clues, the convenient decisions and the increasingly crowded list of double-crosses. The boys pick apart the film's red herrings and ask whether another twist makes a thriller clever or simply harder to care about. A book Suzie is reading, a line from Duquette and a set of muddy footprints all get a second look. If you have only seen Wild Things once, some of those details might send you back for another watch, even if Whitey is in no hurry to join you.

The film's late-'90s atmosphere gets its due, too. There is the soundtrack, the Florida setting, the swimwear and the kind of marketing that could turn a brief scene into the reason everyone bought a ticket. Whitey, Gow and Damo look at how that reputation compares with the film’s actual mix of crime, comedy and erotic thriller. They also tackle a shower reveal that inspires more discussion than its place in the story could possibly justify.

Along the way, Gow brings the taglines and cast facts, Whitey takes Film School for F-Wits through a selection of thrillers built around desire and deception, and the Kick Ass Credit Song finds a very specific subject. The Snorbs Report makes its inevitable appearance. So does the Rank Bank, where the boys make their individual calls without agreeing on whether the film is worth revisiting.

This is Born to Watch, the movie review podcast where we don't take the movies or ourselves too seriously. Put on Wild Things, stay alert through the credits, and join Whitey, Gow and Damo for a review packed with nostalgia, disbelief and more questions about the plot than anyone expected to ask.

What did you make of the rewatch? Tell us whether the twists still work for you, which performance you enjoyed most and whether Bill Murray steals the whole thing.

#BornToWatch #WildThings #WildThings1998 #MovieReview #FilmPodcast #90sMovies #EroticThriller #NeveCampbell #DeniseRichards #BillMurray

Point Break 1991 Review is here, and Born to Watch is heading into the surf with Johnny Utah, Bodhi and the Ex-Presidents. Whitey, Dan, Gow and Damo revisit Kathryn Bigelow’s action film to find out whether its mix of bank robberies, beach culture and skydiving still delivers. This is the movie review podcast where we don’t take the movies or ourselves too seriously, and a film this gloriously committed to its own intensity gives us plenty to work with.

For Whitey, Point Break was a video shop favourite and an easy Sunday afternoon watch. Dan and Gow have returned to it plenty of times over the years. Damo, despite being the crew’s actual surfer, has barely revisited it since seeing it at the cinema. That makes for an interesting question: does knowing your way around a wave make this film more exciting, or make its surfing scenes impossible to ignore?

Keanu Reeves plays Johnny Utah, a former college quarterback turned FBI agent who goes undercover among Los Angeles surfers. Patrick Swayze is Bodhi, the magnetic thrill-seeker at the centre of a crew that seems to live for the next wave. Gary Busey joins the ride as Utah’s partner, Angelo Pappas. The boys get into the cast, the chemistry and the peculiar power Bodhi has to make everyone around him listen when he starts talking about freedom.

They also take a close look at Kathryn Bigelow’s direction. The action has a physical energy that helped make Point Break a favourite for a generation of viewers. But how much of the film holds together once the adrenaline wears off? The crew picks through the undercover investigation, the shifting pace of the story, and an ending that gives them plenty to discuss.

Then Damo and Dan bring some surfing knowledge to the table. Watch closely, and a rider can appear to change stance, while separate waves seem to become one continuous ride. The night surfing draws particular attention. Whitey remembers being swept up in the film when he was younger, but Damo sees details that took him straight out of it. It turns into a lively argument about whether a film needs to get the sport right when the rest of the experience is this entertaining.

Naturally, the conversation takes a few detours. There are memories of seeing the film at the cinema, stories from Whitey’s video shop days, plenty of Patrick Swayze appreciation and a debate over Keanu’s performance. The boys find time for Gary Busey, Australian accents and the question of which cast member really deserves to be called the star of the show. Damo also brings a Point Break inspired credit song that takes the episode somewhere even Johnny Utah might not have expected.

The crew agrees on some moments and splits sharply on others. Nostalgia plays a part, especially for those who grew up with the film close at hand, but nobody lets a favourite movie escape a proper examination. From the beach fights to the airborne thrills, they revisit what makes Point Break so memorable and where it asks the audience to go along for the ride.

There's also Film School for F-Wits and, of course, the Rank Bank. The boys have plenty to say about where this one belongs, but you’ll have to listen to hear how the debate plays out. Bring your best Bodhi impression, keep an eye on those waves and join Born to Watch for a return to one of the most talked-about action films of the 1990s.

Listen now and tell us: does Point Break still make you want to chase the next wave, or has Damo spotted something you can never unsee?

#PointBreak #PointBreak1991 #PointBreakReview #BornToWatch #MovieReviewPodcast #PatrickSwayze #KeanuReeves #KathrynBigelow #90sMovies #ActionMovies

The Martian (2015) review lands on Born to Watch this week as Whitey, Gow and Will blast off to Mars for Ridley Scott's hugely entertaining tale of survival, science, potatoes and one very unlucky astronaut. The Movie Review Podcast, where we do not take the movies or ourselves too seriously, is tackling one of the most rewatchable science-fiction films of the last decade, starring Matt Damon as Mark Watney, a man forced to do what none of us could possibly manage: stay alive on Mars using his brains, determination and an alarming amount of human fertiliser.

Directed by Ridley Scott and adapted from Andy Weir's novel, The Martian starts with a simple but brutal premise. During a mission to Mars, astronaut Mark Watney is struck during a violent storm, presumed dead and left behind as the rest of his crew evacuates the planet. One problem: Watney isn't dead.

Now stranded millions of kilometres from Earth, he has limited food, no immediate way to communicate with NASA and years to wait before another mission could possibly reach him.

Easy.

The boys dive into why The Martian works so well despite essentially being Cast Away on Mars. Matt Damon has to carry huge sections of the film alone, yet Watney never becomes boring. He is smart, vulnerable, funny and constantly solving problems, usually just before another problem arrives and threatens to kill him.

That's one of the things Whitey loves most about the movie. Watney doesn't magically get everything right. Things go wrong. Calculations fail. Equipment breaks. Plans collapse. Every solution seems to create another problem, giving the film an authenticity that keeps the tension alive.

Will has recently read Andy Weir's novel, so we also get into the differences between page and screen. The book dives much deeper into the science behind Watney's survival and adds context for how qualified he is to handle the mechanical and botanical challenges thrown his way.

Then there is that cast.

Jessica Chastain, Chiwetel Ejiofor, Jeff Daniels, Kristen Wiig, Sean Bean, Michael Peña, Kate Mara, Sebastian Stan, Benedict Wong and Donald Glover help turn what could have been a one-man survival story into something much bigger.

The boys have different picks when it comes to the standout performances, with Damon naturally getting plenty of love, while Jeff Daniels and Chiwetel Ejiofor also come in for some serious praise. Donald Glover might arrive late, but he certainly makes an impression.

The episode also asks whether The Martian might represent the last truly great Ridley Scott movie. That opens the door to a run-through of Scott's extraordinary career, from Alien and Blade Runner through Gladiator, Black Hawk Down and American Gangster, before looking at some of his more recent efforts.

Then there is the music.

For a bloke trapped on another planet, Watney has access to plenty of tunes; unfortunately for him, Commander Lewis appears to have left him with a collection heavily weighted towards disco. It becomes one of the movie's best running jokes and naturally gives Born to Watch plenty to work with.

The Good, the Bad and the Ugly gets into everything from Damon's performance and Watney's relentless problem-solving to the genuinely stressful HAB sequence, NASA's decision-making and a couple of moments where the science-fiction starts leaning a little more heavily on the fiction.

The film also sparks plenty of discussion for its surprisingly positive outlook. Rather than turning Watney's rescue into a simple American hero story, The Martian becomes a global effort. Scientists, astronauts, and space agencies work together toward one objective: bringing one man home.

Of course, this is Born to Watch, so somewhere between the intelligent discussion of orbital mechanics, survival psychology and Ridley Scott's filmmaking, things inevitably deteriorate.

• Potatoes are discussed.
• Human waste is discussed.
• Duct tape gets the respect it deserves.
• And Will's ongoing journey from Worky to potentially fully qualified podcast contributor continues under intense performance-review conditions.

Strap yourself into the Hermes, pack enough potatoes and make sure someone remembered the duct tape.

This is The Martian (2015) Review, Born to Watch style.

#TheMartian #TheMartianReview #BornToWatch #MovieReviewPodcast #MattDamon #RidleyScott #ScienceFiction #SciFiMovies #AndyWeir #MoviePodcast

This Is Spinal Tap Review takes Born to Watch somewhere few podcasts dare to go: backstage with Britain's loudest band, where amplifiers go to eleven, drummers have an alarming mortality rate, Stonehenge has serious measurement issues, and a beautiful piano composition can somehow be called “Lick My Love Pump”.

Whitey, Damo and Dan are back to revisit Rob Reiner's 1984 mockumentary masterpiece, This Is Spinal Tap, a movie that barely made a ripple when it first arrived but went on to become one of the most influential comedies ever made. More than four decades later, the question is simple: is Spinal Tap still funny, or has the volume finally been turned down?

For Whitey, the film has grown with every viewing. Watching it as a teenager meant missing half the jokes, but coming back to it years later reveals just how clever the movie really is. Damo is firmly aboard the Tap train, while Dan comes into this one having seen plenty of famous scenes over the years without previously sitting through the whole film from start to finish.

That gives us the perfect mix for a Born to Watch review.

The boys dive into what made This Is Spinal Tap so revolutionary. Rob Reiner, Christopher Guest, Michael McKean and Harry Shearer created something that looks and sounds so much like a genuine rock documentary that audiences could be forgiven for wondering whether Spinal Tap was actually real.

And that is where the genius lives.

There are no desperate punchlines or actors screaming at the audience to tell them where the joke is. The characters play everything completely straight. The stupidity is delivered with total sincerity, whether Nigel Tufnel is protecting a guitar that cannot even be looked at, Derek Smalls is calmly navigating another band catastrophe, or David St. Hubbins is watching his musical empire slowly fall apart.

Then there are the moments that have become comedy folklore.

• Stonehenge.
• The amps that go to eleven.
• “Lick My Love Pump”.
• Smell the Glove.
• The constantly changing drummers.
• Getting hopelessly lost backstage.
• And some very questionable objects stuffed inside some extremely tight trousers.

The boys pick apart their favourite scenes, with Dan loving the absurd brilliance of "Lick My Love Pump", Damo championing Nigel's priceless guitar collection scene, and Whitey finding himself laughing harder at the film than he ever has before.

But this episode goes well beyond simply quoting the classics.

The crew ask whether This Is Spinal Tap became the blueprint for the mockumentary format that followed. Would shows such as The Office and countless other mockumentary films and television series have existed in quite the same way without Reiner and the Tap boys showing everyone how it could be done?

There is also plenty of love for the supporting cast and cameos. Billy Crystal, Dana Carvey, Fran Drescher, Fred Willard, Bruno Kirby, Paul Shaffer and Anjelica Huston all enter the conversation as the boys realise just how much talent is scattered throughout the film.

Naturally, the episode also explores Spinal Tap's extraordinary musical history. The band's fictional back catalogue might contain some of the greatest album titles never released by a real band, from Intravenous DeMilo and Shark Sandwich to Smell the Glove, Silent but Deadly and the magnificent Bent for the Rent.

Then it is time for all the regular Born to Watch madness.

The Good, the Bad and the Ugly digs into what still works, what might require multiple watches to truly appreciate, and whether there is actually much "ugly" to complain about. The boys agree this movie is packed with jokes that are incredibly easy to miss the first time around, making repeat viewings almost essential.

There is also Question Time, Quick Fire, Film School for F-Wits, plenty of musical detours and, naturally, another Kick Arse Credit Song from Dan.

More than 40 years after its release, This Is Spinal Tap remains one of those rare comedies whose influence has become almost bigger than the movie itself. Its jokes have entered everyday language, its characters feel strangely believable, and its commitment to playing absolute stupidity completely straight remains almost impossible to replicate.

So grab your guitar, prepare the miniature Stonehenge, sniff the feedbag and make sure your amplifier has that all-important extra number.

Because Born to Watch is turning this episode up to eleven.

Join the Born to Watch crew
If you love movies but don't believe they need to be treated like sacred works of art, you've found your people. Follow the podcast, share the episode with a mate, jump onto the socials and tell us which movie deserves the Born to Watch treatment next.

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This week on Born to Watch, we head into Prohibition-era Chicago for The Untouchables 1987 Review, revisiting Brian De Palma's stylish gangster classic starring Kevin Costner, Sean Connery, Robert De Niro and Andy Garcia. It's cops, Capone, Tommy guns, questionable accents, immaculate suits and enough testosterone to make this one of the great 1980s sausage fests. More importantly, this special episode is dedicated to our great mate Chupperz, who requested the film. Chupperz, this one is for you.

Released in 1987, The Untouchables takes us into the battle between federal agent Eliot Ness and Chicago crime boss Al Capone. Kevin Costner plays Ness as the ultimate straight-laced good guy, determined to bring Capone down legally, at least until Chicago starts teaching him that playing by the rules might not be enough.

Enter Sean Connery as Jimmy Malone.
Connery won the Academy Award for Best Supporting Actor for the role, and the boys spend plenty of time discussing whether he is also the real star of the movie. Malone brings the experience, attitude, and gravitas Ness needs, along with one of the best approaches to law enforcement ever put on screen. If they pull a knife, you might want to start thinking about bringing something slightly more substantial.

Then there's Andy Garcia as George Stone, young, ridiculously cool, deadly accurate and sporting enough back hair to qualify as an additional cast member. Garcia doesn't need many lines to make an impression. He simply turns up, looks cool and shoots people with an accuracy that would make most action heroes jealous.

And then we get Bobby De Niro.

Robert De Niro goes full method as Al Capone, putting on the weight and delivering a wonderfully smug, intimidating performance. The problem? Whitey wants more of him. A lot more. The discussion turns to whether The Untouchables missed an opportunity by keeping Capone relatively limited, instead of giving De Niro more screen time and letting the film explore both sides of the battle.

There's also plenty of love for Brian De Palma's direction. This movie is packed with memorable filmmaking, from brutal moments of violence to beautifully constructed suspense. The famous Union Station sequence remains the standout, slowly tightening the tension before everything explodes. Even if the boys have a few questions about that pram, the woman carrying it, the strangely busy midnight railway station and why nobody thought to give her a hand.

The episode also digs into Ennio Morricone's brilliant score, one of the elements that immediately gives The Untouchables its identity. The music is bold, instantly recognisable and a massive part of why the movie still feels so cinematic decades later.

Of course, this is Born to Watch, so respectful film analysis only lasts so long.

The boys question continuity problems, Sean Connery's Scottish take on an Irish accent, Frank Nitti's questionable escape plan, Capone's all-in-one grooming experience, Costner's white-knight energy, and whether a piece of paper listing bribed jurors would really be enough to send a courtroom completely sideways.

There's also the usual trip through The Good, The Bad and The Ugly, Snorbs Report, Film School for F-Wits, quotables, trivia and the random tangents that somehow turn a discussion about a Brian De Palma gangster movie into conversations that have absolutely no right being there.

But beneath all the piss-taking is genuine appreciation for a movie that still looks fantastic. The costumes, locations, production design and old-school filmmaking give The Untouchables a scale and atmosphere that remains impressive nearly four decades later.

Is Costner charismatic enough to carry it?
Is Connery actually the MVP?
Should De Niro have been given far more screen time?
Is the Union Station shootout still one of the great action sequences of the 1980s?

And most importantly, where does The Untouchables eventually land in the sacred halls of the Born to Watch Rank Bank?

You’ll have to listen to find out.

JOIN THE CONVERSATION

Think The Untouchables is an untouchable 1980s classic?
Let us know your favourite scene, character and quote.

And if you've got a movie you think deserves the full Born to Watch treatment, send it our way.
Just remember, as Chupperz discovered, getting your movie selected also means giving the boys permission to absolutely tear it apart.

Born to Watch, the Movie Review Podcast where we don't take the movies, or ourselves, too seriously.

#TheUntouchables #TheUntouchables1987 #BornToWatch #MovieReviewPodcast #KevinCostner #SeanConnery #RobertDeNiro #AndyGarcia #BrianDePalma #80sMovies

This week on Born to Watch, we sink our teeth into a Fright Night 1985 Review, revisiting one of the most recognisable vampire movies of the VHS era. For Whitey, this one comes loaded with childhood nostalgia, a movie discovered through an unforgettable video shop cover and watched countless times growing up. For Gow and Damo, however, this is essentially fresh blood. So, after more than 40 years, does Fright Night still deliver the perfect combination of horror, comedy and '80s vampire cool, or should some childhood favourites remain safely buried in the past?

Directed by Tom Holland, Fright Night stars William Ragsdale as Charlie Brewster, a teenager who discovers that his charming new neighbour, Jerry Dandrige, is actually a vampire. Naturally, nobody believes him. Not his mum, not his girlfriend Amy, not the police, and certainly not washed-up television horror host Peter Vincent. Unfortunately for Charlie, Jerry knows that Charlie knows, and things are about to get considerably more complicated.

The boys start with the nostalgia factor, and this might be one of the biggest tests yet of whether childhood memories can survive a modern rewatch. Whitey remembers Fright Night as the ideal gateway horror movie, scary enough for a young teenager but funny and accessible enough to keep bringing him back. Gow and Damo don't have that emotional safety net, so they judge the film in the cold, unforgiving light of 2026.

That difference produces exactly the sort of Born to Watch discussion you'd expect.

Chris Sarandon's Jerry Dandrige gets plenty of attention. Smooth, ridiculously confident and rocking some magnificent '80s wardrobe choices, Jerry might be the strongest thing the movie has going for it. The nightclub sequence gets examined, the seductive vampire powers are discussed, and Whitey can't help noticing some serious Michael Douglas vibes years before Basic Instinct arrived.

Then there's Roddy McDowall as Peter Vincent, the former movie vampire killer who discovers that dealing with the real thing is considerably different from acting in front of a camera. The boys look back at McDowall's incredible career, from Planet of the Apes to his decades of film and television work, while deciding just how much Peter Vincent adds to Fright Night.

But we need to talk about Evil Ed.

Oh dear.

Stephen Geoffreys' performance becomes one of the episode's biggest talking points, and not necessarily for the reasons the filmmakers hoped. Is Evil Ed deliberately annoying? Is he supposed to be funny? Is he operating in a completely different movie from everybody else? And most importantly, just how high can the Born to Watch annoyance scale actually go?

The boys also dive into Amanda Bearse as Amy, William Ragsdale's Charlie, Charlie's questionable decision-making, Jerry's supernatural seduction abilities and the wonderfully bizarre logic that comes with trying to convince the police that the bloke next door is a vampire.

There is plenty to admire visually. The practical effects still provide some of Fright Night's strongest moments, particularly as the film heads towards its creature-heavy finale. Melting faces, transformations, wolves, vampires, mist-covered houses, and gloriously physical '80s effects all remind us why this era of horror still has such a passionate following.

Naturally, being Born to Watch, the conversation doesn't remain focused on vampires for very long.

The boys wander through the movies of 1985, revisit the glory days of video shops, discuss horror films as a childhood rite of passage, remember a time when Australian television had only a handful of channels, somehow find their way into Married... with Children, debate vampire rules and take several conversational detours that absolutely nobody planned.

There's also the usual critical analysis, questionable observations, movie trivia, overs and unders, the trailer breakdown, the Good, the Bad and the Ugly, and enough inappropriate vampire discussion to ensure Bram Stoker is spinning violently in his grave.

The biggest question, though, remains simple.

Can nostalgia save Fright Night?

For one member of the Born to Watch crew, this was once a genuine childhood favourite. Decades later, surrounded by two first-time viewers and forced to examine every strange performance, plot decision and ageing effect, those memories are about to face their toughest test yet.

Grab the garlic, check the mirrors, lock the bedroom window and whatever you do, don't invite the new neighbour inside.

It's time for Fright Night on Born to Watch.

Born to Watch, the movie review podcast where we don't take the movies, or ourselves, too seriously.

#FrightNight #FrightNight1985 #FrightNightReview #BornToWatch #MovieReviewPodcast #80sMovies #80sHorror #VampireMovies #HorrorMovies #CultMovies

If a movie was ever made for the Born to Watch treatment, this is it. In our Rambo III 1988 Review, Whitey is joined by two certified ’80s action tragics, Bones and DJ Glazby, to revisit Sylvester Stallone at his biggest, most shredded and possibly most ridiculous. The Russians are back, Colonel Trautman needs rescuing, Afghanistan is the battlefield, and John J. Rambo is about to discover that retirement is apparently not an option.

For Whitey, Rambo isn’t simply another action franchise. John J. Rambo has basically been part of his movie-watching life forever, and Rambo III was the first instalment he saw on the big screen. Bones and Glaz have similar credentials, with all three admitting they’ve probably watched these movies more than 100 times. That level of unhealthy familiarity can only mean one thing: two hours of remembering lines, picking apart scenes and asking questions nobody involved in the production ever expected anyone to ask.

Released in 1988, Rambo III takes everything from the previous film and turns the dial past eleven. Bigger budget. Bigger explosions. Bigger weapons. Bigger muscles. Bigger hair. Stallone is in absolutely outrageous condition, sporting a physique that sends the boys down several completely unnecessary conversational rabbit holes.

The story begins with Rambo attempting to live a peaceful life in Thailand before Colonel Trautman arrives asking for help with a mission into Afghanistan. Rambo declines, Trautman heads off without him and promptly gets himself captured. Naturally, Rambo changes his mind and goes after his old mate.

Simple.

What follows is peak late-’80s action excess.

The boys dive into Rambo's magnificent opening stick fight, that red headband, the suspiciously dangerous spectator arrangements and the logistical nightmare of figuring out who exactly everyone is betting on. There are questions about the ridiculous staircase Trautman climbs to find Rambo, Rambo’s magnificent 1988 hair and whether Colonel Trautman might be one of the oldest soldiers ever voluntarily sent behind enemy lines.

Then there’s Stallone himself.

Rambo talks considerably more this time around, although nobody is going to mistake him for Shakespeare, and the boys discuss whether Sly knew exactly what sort of movie he was making or genuinely believed there was something much more profound buried underneath all those explosions.

One thing everyone can agree on is that the practical action still looks fantastic.
Real explosions, squibs, stunt work, enormous military hardware and physical effects give Rambo III a weight that many modern CGI-heavy action movies struggle to recreate. The cave sequence in particular gets plenty of love, with Whitey arguing that Rambo hunting enemies through the darkness is exactly where the character is at his best. Even the sound of Rambo firing an arrow gets nominated as one of cinema’s great instantly recognisable noises.

There's also plenty of behind-the-scenes madness. The film carried an enormous budget for its time, went through a director change early in production and ultimately became one of the biggest action productions of its era. Somehow, the Razzies still came calling, something the boys have very strong opinions about.

Because this is Born to Watch, Rambo III also leads us into the wider Rambo universe. The boys attempt to rank the entire franchise, debate First Blood versus the increasingly outrageous sequels, revisit Rambo II and discuss where Rambo III belongs among Stallone’s greatest action achievements.

And then comes the most important question.

Does Rambo III still work?

It’s too long. It’s incredibly stupid in places. Its politics have aged in fascinating ways. Colonel Trautman may be surprisingly useless. But when Stallone picks up the bow, the explosions start, and that glorious Jerry Goldsmith score kicks into gear, none of that seems to matter quite as much.

This is Born to Watch, The Movie Review Podcast where we don’t take the movies, or ourselves, too seriously.

Strap yourself in, tighten the headband and prepare for peak Stallone.

Rambo III is back.

#RamboIII #Rambo #SylvesterStallone #80sMovies #80sAction #ActionMovies #MovieReview #BornToWatch #MoviePodcast #Stallone

The boys are heading back to the decade of slick crime flicks, sharp dialogue and Hollywood cool for our Get Shorty 1995 Movie Review. This is peak John Travolta, riding the post-Pulp Fiction wave; Gene Hackman is doing comedy without really doing comedy, and Dennis Farina has arrived to swear at practically everyone in Los Angeles.

Welcome back to Born to Watch, the Movie Review Podcast where we don't take the movies or ourselves too seriously.

This week Whitey and Gow are joined by a returning Dan, who has finally wandered back into the studio after his extended sabbatical. It doesn't take long before old stories, old insults and the questionable exploits of 1990s G start flying around the room.

But eventually, somehow, we get to Get Shorty.

Adapted from the Elmore Leonard novel and directed by Barry Sonnenfeld, Get Shorty drops loan shark Chili Palmer into Hollywood and quickly discovers that the movie business might be even more crooked than organised crime. Chili comes to Los Angeles chasing money and ends up chasing something completely different, a shot at the movies.

And nobody could play Chili Palmer quite like John Travolta.

The boys dig into Travolta's incredible mid-'90s resurgence and why Chili might be one of his coolest performances. This isn't the dialled-up Travolta of Face/Off or the villainous version from Broken Arrow. Chili is controlled, confident, charismatic and almost impossible to rattle. As Whitey puts it, he's basically Vincent Vega without the heroin problem.

Then there's Gene Hackman as B-movie producer Harry Zimm. Hackman was apparently reluctant to play comedy, which makes his performance even better. He plays Harry almost completely straight while chaos unfolds around him, and the result is bloody funny.

Rene Russo brings Karen Flores to life, Danny DeVito sends up the Hollywood superstar as Martin Weir, Delroy Lindo is outstanding as Bo Catlett, and a pre-Sopranos James Gandolfini turns up as Bear.

But then there's Dennis Farina.

Farina's Ray "Bones" Barboni has no interest in becoming a producer, landing a movie deal or joining Hollywood's endless bullshit machine. He wants his money. That's it. His delivery, aggression, and complete inability to understand why everyone else is suddenly obsessed with making movies produce some of the episode's biggest laughs. By the time the boys get to Star of the Show, Farina is very much in the conversation.

The real star, however, might be the dialogue.

The boys talk about how Get Shorty captures Elmore Leonard's distinctive rhythm, humour and effortless conversations. Whitey remembers absolutely hammering this movie after first seeing it at Hoyts with the boys, watching it repeatedly on VHS because he loved the back-and-forth between the characters.

That leads perfectly into Film School for F-Wits, where Dan dives into Elmore Leonard. Get Shorty was Leonard's favourite adaptation of his work, and the boys explore the run that also gave us Jackie Brown and Out of Sight. Dan also breaks down Leonard's famous approach to writing, including natural dialogue, avoiding unnecessary exposition and one beautifully simple philosophy: if your writing sounds like writing, rewrite it.

There's also plenty buried in Listen to This, including the actors considered for Chili Palmer, Danny DeVito originally being lined up for the role, James Gandolfini's performance attracting the attention of David Chase, Tarantino's connection to the project and Travolta's determination to protect Leonard's dialogue.

Add The Good, The Bad and The Ugly, 1995 movie memories, Quickfire, quotables and the G-Man's wonderfully ridiculous Born to Get Shorty Kick Arse Credit Song, and we've got ourselves another proper Born to Watch outing.

Is Get Shorty still one of the smartest crime comedies of the '90s?
Does Travolta's Chili Palmer remain one of cinema's coolest operators?
And can Dennis Farina steal an entire movie simply by being Dennis Farina?

There's only one way to find out.

Join Whitey, Gow and Dan as Born to Watch heads to Hollywood, where everybody wants to be in the movie business, even the gangsters.

#GetShorty #GetShortyMovie #JohnTravolta #GeneHackman #DennisFarina #ElmoreLeonard #90sMovies #MovieReview #MoviePodcast #BornToWatch

The Warriors 1979 Review is finally here, and this week on Born to Watch, Whitey, Gow and Damo are heading deep into enemy territory for a movie they've been circling since the early days of the podcast. Walter Hill's 1979 cult classic has leather vests, painted faces, subway trains, some of the strangest gangs ever assembled and one very simple objective: get back to Coney Island alive. The Movie Review Podcast, where we don't take the movies or ourselves too seriously, is about to find out if The Warriors can still come out to play.

For the boys, this isn't just another movie review.

The Warriors carries some serious childhood baggage.

This was one of those movies you heard about before you actually saw it. The video shop cover caught your eye; older kids talked about it, and somehow the movie's reputation became almost as important as the movie itself. Whitey remembers hammering it during his teenage years, while Damo recalls hiring it on VHS and watching the bloody thing twice back-to-back.

That's the sort of nostalgia we're dealing with here.

The setup remains magnificent.

Cyrus has a dream. Get every gang in New York together, stop fighting each other and realise they collectively outnumber the cops.

CAN YOU DIG IT?

Unfortunately, Luther can't.

Cyrus goes down, The Warriors get blamed, and suddenly a crew from Coney Island is stranded in the Bronx with every gang in New York looking to collect.

What follows is essentially one long journey home through a New York City that feels like it exists in another universe.

Whitey, Gow and Damo get stuck into Walter Hill's world-building and the collection of gangs roaming the streets. The Turnbull ACs look genuinely terrifying. The Lizzies have guns but apparently attended the Imperial Stormtrooper Marksmanship Academy. The Orphans desperately want someone to take them seriously.

And then there are the Baseball Furies.

Baseball uniforms. Painted faces. Baseball bats.

It shouldn't work.

It absolutely works.

The boys also give plenty of love to Barry De Vorzon's brilliant score. From the opening moments, that pulsing soundtrack drags you straight into The Warriors' version of New York, and the music accompanying the Baseball Furies chase remains an absolute belter.

Then there's the cast.

Michael Beck brings the brooding as Swan, while James Remar is perfectly unhinged as Ajax, a bloke who seems about five seconds away from causing a problem in every scene he enters.

But David Patrick Kelly's Luther may own the movie.

Three bottles on his fingers.

"Warriors... come out to play-ay."

An improvised moment that became one of the most recognisable scenes in cult movie history.

Of course, nostalgia only gets you so far on Born to Watch.

The boys ask whether a film with such a notorious reputation is actually violent enough. They question the shooting ability of the Lizzies, the sheer amount of running required while wearing a leather vest with no shirt, and whether the final confrontation delivers the payoff the movie has been building towards.

There's also plenty of Walter Hill appreciation, including his incredible run through movies like Southern Comfort, 48 Hrs., Streets of Fire, Red Heat and Last Man Standing.

Where does The Warriors land?

You'll have to listen.

After more than four years and 226 episodes, the F-Wits have finally made it back to Coney Island.

Grab your vest, paint your face, jump on the subway and come along for the ride.

WARRIORS... COME OUT TO PLAY-AY!

JOIN THE BORN TO WATCH CREW

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Follow Born to Watch, leave us a five-star review and, most importantly, share the episode with another movie-loving F-Wit.

Because podcasts don't grow on their own, people.

Can you dig it?

#TheWarriors #TheWarriors1979 #BornToWatch #MovieReviewPodcast #CultMovies #WalterHill #ClassicMovies #1970sMovies #BaseballFuries #CanYouDigIt

This week on Born to Watch, we're diving deep beneath the surface for our Crimson Tide (1995) Review, revisiting Tony Scott's tense 1995 submarine thriller starring two absolute acting heavyweights, Gene Hackman and Denzel Washington. It's a film packed with military drama, explosive confrontations, unforgettable performances, and enough pressure to make anyone glad they never enlisted in the Navy.

Whitey and Damo return to the captain's chair to break down one of Tony Scott's most underrated films, a movie that proves you don't need endless explosions to create edge-of-your-seat tension. When a US nuclear submarine receives an incomplete launch order during an international crisis, Captain Frank Ramsey (Gene Hackman) and Executive Officer Ron Hunter (Denzel Washington) find themselves locked in a battle that could determine the fate of the entire world.

At its heart, Crimson Tide isn't really about submarines or nuclear weapons. It's about leadership.

Gene Hackman delivers one of the most intimidating performances of his legendary career as the old-school Captain Ramsey, a man who believes orders are meant to be followed without question. Opposite him is Denzel Washington, calm, measured, and incredibly composed as Hunter, the officer who believes thinking before acting might just save millions of lives.

The chemistry between these two acting giants drives every scene. Every conversation feels like a heavyweight boxing match where neither man wants to blink first. Whitey and Damo debate whose side they'd be on, whether Ramsey is a fearless wartime leader or simply an egotistical loose cannon, and whether Hunter's calm approach would really survive under the pressure of nuclear war.

Of course, this is Born to Watch, so things quickly drift into discussions about sweaty submarines, impossible flat-top haircuts, George Dzundza somehow fitting through submarine hatches, Tony Scott's signature directing style, Hans Zimmer's early military score, and why James Gandolfini was already becoming Hollywood's go-to bloke for playing absolute jerks before The Sopranos.

The boys also revisit Tony Scott's incredible filmography, comparing him to brother Ridley Scott, while reminiscing about classics including Top Gun, True Romance, The Last Boy Scout, Enemy of the State, Man on Fire, Deja Vu and more. Is Tony Scott one of the greatest blockbuster directors of the 1990s? The debate certainly gets underway.

As always, there's plenty of Born to Watch goodness along the way. Expect the IMDb and Rotten Tomatoes comparisons, the VHS synopsis, the 1995 Hit, Sleeper and Dud, plenty of movie trivia, questionable observations, and enough laughs to break the tension inside the USS Alabama.

The discussion also shines a light on the incredible supporting cast. Viggo Mortensen appears long before becoming Aragorn, James Gandolfini is perfectly cast as another intimidating authority figure, while early performances from Ryan Phillippe and Steve Zahn provide plenty of "I forgot they were in this!" moments.

The episode also explores whether Crimson Tide deserves its reputation as one of the greatest submarine films ever made. How does it compare to The Hunt for Red October? Is Gene Hackman's Captain Ramsey one of cinema's best military leaders or one of its most dangerous? Does Denzel Washington quietly deliver one of the finest performances of his career?

If you love intense thrillers, powerhouse acting performances, Tony Scott's kinetic filmmaking style, or simply enjoy hearing four mates argue passionately about movies while constantly getting distracted by completely unrelated topics, this episode is for you.

So grab your popcorn, secure the launch keys, and prepare to dive deep into one of the smartest action thrillers of the 1990s.

Have you seen Crimson Tide?
We'd love to know whose side you're on.
Was Captain Ramsey right to follow orders without hesitation, or did Hunter make the only decision that could save humanity?

Join the conversation across all our social channels and let us know your thoughts.
Don't forget to subscribe, leave us a review, and tell a movie-loving mate about Born to Watch. Your support helps us keep revisiting the films we all grew up with.

#BornToWatch #CrimsonTide #CrimsonTide1995 #MovieReview #TonyScott #DenzelWashington #GeneHackman #90sMovies #FilmPodcast #MoviePodcast

This week on Born to Watch, the boys dive into a true cult classic with our Big Wednesday Movie Review, the coming-of-age surfing epic that has inspired generations of surfers while leaving plenty of movie fans wondering what all the fuss is about. Directed by the legendary John Milius, Big Wednesday isn't just about riding waves; it's about growing up, friendships, the passing of time, and the harsh reality that life eventually catches up with everyone.

Whitey, G-Man and Damo paddle out into one of the most personal films ever covered on the podcast, and the discussion quickly reveals a massive divide. For G-Man, this is sacred territory, a film that captures everything he loves about surfing culture and the changing seasons of life. For Whitey, it's a movie full of unanswered questions that leaves him searching for meaning between the swells. Somewhere in the middle sits Damo, appreciating both the spectacular surfing sequences and the emotional weight hidden beneath the surface.

The boys break down the journey of Matt, Jack and Leroy, three lifelong mates whose lives unfold across more than a decade as they chase waves, girls, parties, responsibility and eventually the mythical Big Wednesday itself. Is the famous swell simply a perfect wave, or is it a metaphor for life's biggest moments? G-Man comes armed with enough knowledge to teach a university course on the film, explaining the significance of each swell and how every chapter represents another stage of growing older.

Along the way, the conversation drifts into everything that makes Born to Watch what it is. Whitey questions why nobody seems capable of explaining anything in 1970s cinema, Damo reminisces about recording surfing competitions onto VHS tapes before the internet existed, and G-Man somehow turns an episode about surfing into a passionate defence of Jan-Michael Vincent's career.

Speaking of Jan-Michael Vincent, the boys explore what should have been one of Hollywood's biggest success stories. Blessed with movie star looks and undeniable charisma, Vincent seemed destined to become one of the industry's leading men before a series of personal struggles derailed his career. They also examine the careers of William Katt, Gary Busey, Lea Purcell and the incredible creative team behind the film, including legendary director John Milius and composer Basil Poledouris.

As always, the regular segments are packed with laughs. The team looks back at 1978, discussing classics including The Deer Hunter, Grease, Superman, Animal House and Every Which Way But Loose. The Snorb's Report uncovers another unforgettable scene from Animal House, while Hit, Sleeper, Dud delivers recommendations ranging from Midnight Express and The Wild Geese through to the gloriously ridiculous disaster movie The Swarm.

Of course, no Born to Watch episode would be complete without random tangents. There are discussions about beach culture, lending surfboards to complete strangers, teenage house parties, Bear's outrageous life choices, surfing legends, Airwolf, The Greatest American Hero, Star Wars auditions, Gary Busey's teeth, and whether anyone has ever actually met an old surfer who correctly predicted the mythical "Big Wednesday".

Whether you grew up quoting Matt Johnson, dreamed of chasing perfect waves, or you've never understood surfing culture at all, this episode celebrates a film that means something different to everyone who watches it. Some see an unforgettable surfing movie. Others see one of the greatest coming-of-age stories ever made. Whitey still isn't entirely sure what he watched.

So grab a beer, wax the board, paddle out with the boys, and join us as we revisit one of cinema's most beloved cult classics. The waves are building, the friendships are tested, and eventually, Big Wednesday arrives.

If you enjoyed this episode, don't forget to subscribe, leave us a review, and share Born to Watch with your mates. Every new listener helps us keep celebrating the movies we all grew up loving, one classic at a time.

#BornToWatch #BigWednesday #BigWednesdayMovieReview #MoviePodcast #SurfMovies #JohnMilius #CultClassic #FilmReview #MovieLovers #PodcastAustralia

This week on Born to Watch, it's time for our Air Force One Movie Review, the movie review podcast where we don't take the movies or ourselves too seriously. Whitey, G-Man, and Will the Worky climb aboard one of the most patriotic action films ever made, as Harrison Ford swaps his whip and fedora for the Oval Office and proves that sometimes the President really can save the day.

Released in 1997 and directed by Wolfgang Petersen, Air Force One became one of the biggest blockbusters of the year, delivering a simple but irresistible premise. Terrorists hijack the President's plane, take his family hostage and quickly discover they've picked a fight with a Commander-in-Chief who just happens to be a Medal of Honour recipient.

The boys dive into whether this 90s action favourite still holds up almost three decades later, or whether nostalgia is doing most of the heavy lifting.

Harrison Ford once again proves why he remains one of Hollywood's greatest accidental heroes. Whether he's Han Solo, Indiana Jones, Dr Richard Kimble or President James Marshall, Ford has a knack for making ordinary people believe they can survive extraordinary situations. The team discusses why his grounded style works so well and why he's able to elevate even the most over-the-top action movies.

Of course, no discussion of Air Force One would be complete without Gary Oldman. His performance as terrorist Ivan Korshunov is as intense as ever, even if the boys question whether one of cinema's greatest actors deserved a stronger script. Along the way, they celebrate Oldman's incredible career, from Leon and True Romance through to The Dark Knight, Darkest Hour and beyond.

As always, the movie quickly becomes secondary to the ridiculous questions that only Born to Watch can ask.

• Just how many parachutes does Air Force One actually carry?
• Why is everyone smiling after jumping out of a plane somewhere over Kazakhstan?
• Does a 1997 satellite phone really keep working at 20,000 feet?
• Why is there an endless supply of drinks hidden in the cargo hold?
• And how exactly does one MiG fighter somehow survive an entire squadron attack just so the movie can have one more action sequence?

The crew also takes aim at some wonderfully cheesy taglines, debates whether this is one of cinema's greatest presidential action thrillers, and wonders if Australians will ever truly understand America's obsession with the presidency.

Elsewhere, G-Man delivers another outstanding Ordinary People segment, covering Harrison Ford, Gary Oldman, Glenn Close and a cast full of "that guy" character actors you've seen in dozens of movies. There's also a look back at the massive year that was 1997, including Titanic, Men in Black, The Lost World: Jurassic Park and Good Will Hunting.

Hit, Sleeper or Dud returns with another trio of recommendations, including Wesley Snipes' underrated Murder at 1600, the Spanish original that inspired Vanilla Sky, and one of the greatest movie titles ever discovered in the Dud category.

As always, expect plenty of laughs, terrible impressions, completely unnecessary tangents, and more than a few moments where the logic of Hollywood action films is left hanging out the side of the aircraft.

So buckle up, secure your tray table, prepare for decompression, and remember one thing...

Get off my podcast!

If you enjoy what we do, we'd love your support.
Subscribe wherever you listen, leave us a five-star review, share the episode with your mates, and follow Born to Watch across social media. Every listen helps us keep celebrating the movies we all grew up with, one ridiculous review at a time.

#AirForceOne #HarrisonFord #GaryOldman #WolfgangPetersen #MovieReview #BornToWatchPodcast #90sMovies #ActionMovies #FilmPodcast #GetOffMyPlane

The Interstellar (2014) Movie Review has finally landed on Born to Watch, the movie review podcast where we don't take ourselves or the movies too seriously, and this week Whitey, Damo and the G-Man strap themselves into the Endurance to tackle one of Christopher Nolan's most ambitious films.

Love it, hate it, or spend three hours trying to figure out what a tesseract actually is, there's no denying that Interstellar is one of the most talked-about science fiction films ever made.

Starring Matthew McConaughey, Anne Hathaway, Jessica Chastain, Michael Caine and an unforgettable surprise appearance from Matt Damon, Interstellar blends emotional family drama with mind-bending science in a way very few films have attempted before. Black holes, wormholes, time dilation, gravity, fifth dimensions and Hans Zimmer's thunderous score all combine to create a cinematic experience unlike anything else.

The boys break down whether Christopher Nolan's space epic deserves its place among the greatest films ever made or asks just a little too much of its audience.

Whitey shares why this remains one of the most emotional cinema experiences of his life and admits that even after multiple viewings, he still discovers new details every time. Damo dives deep into the science behind the film, the incredible soundtrack from Hans Zimmer and why this is a movie that rewards repeat watches. Meanwhile, G-Man experiences Interstellar for the very first time, proving that even a three-hour runtime can't stop Nolan from delivering one unforgettable ride.

Of course, this wouldn't be Born to Watch without plenty of laughs along the way.

The boys debate whether anyone actually understands the ending the first time around, discuss the emotional devastation of Cooper's relationship with Murph, marvel at Nolan's practical filmmaking techniques and question whether they'd leave their own family behind if they were humanity's last hope.

There's plenty of appreciation for Matthew McConaughey's career-best performance, Anne Hathaway's emotional turn, Jessica Chastain's incredible work as the adult Murph, and Matt Damon's unforgettable heel turn, which completely changes the direction of the film.

As always, the crew dive into the IMDb and Rotten Tomatoes scores, compares Interstellar against some of the greatest science fiction films ever made, revisits the incredible year that was 2014 in cinema and discusses Christopher Nolan's unbelievable run of films, including Batman Begins, The Prestige, The Dark Knight, Inception and Interstellar.

Expect plenty of discussion around Hans Zimmer's legendary score, practical visual effects that still hold up over a decade later and why Interstellar continues to inspire audiences every time it's re-released on the biggest screens possible.
Naturally, the famous Born to Watch segments return, including Overs and Unders, Critical Thinking, Ordinary People, Hit, Sleeper, Dud, The Snorbs Report, Quickfire Questions and plenty more movie nonsense that somehow still makes perfect sense.

Whether you've watched Interstellar once or twenty times, or you're still trying to work out exactly what happened inside the tesseract, this episode is packed with laughs, passionate movie discussion and enough Christopher Nolan appreciation to make even Professor Brand proud.

So grab your headphones, set your coordinates beyond Saturn and join the crew for one of the biggest movie discussions we've ever had.

Join the conversation!
What did you think of Interstellar?
Is it Christopher Nolan's greatest achievement?
Does Hans Zimmer deliver the greatest movie score of the modern era?
Let us know your thoughts across our social channels, and don't forget to subscribe, leave a review and share Born to Watch with your fellow movie lovers.

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Lethal Weapon 2 Movie Review is here, and this week we're diving back into one of the greatest action sequels of all time on The Movie Review Podcast, where we don't take the movies or ourselves too seriously. Join Whitey and Damo as they revisit the explosive 1989 classic that proved lightning really can strike twice. With bigger action, bigger laughs, and one unforgettable diplomatic immunity speech, Lethal Weapon 2 remains a benchmark for the buddy cop genre.

After the gritty success of the original film, director Richard Donner returned with Mel Gibson and Danny Glover to deliver a sequel that shifted gears without losing what made the franchise special. Instead of doubling down on the darkness, Lethal Weapon 2 leans heavily into comedy while still delivering spectacular action set pieces, memorable villains and the chemistry that made Martin Riggs and Roger Murtaugh one of cinema's greatest partnerships.

Whitey and Damo discuss whether Lethal Weapon 2 is actually better than the original, and why so many fans continue to rank it among the greatest sequels ever made. Is it worthy of being mentioned alongside Aliens, Terminator 2, and The Empire Strikes Back? Or has nostalgia been doing some heavy lifting?

As always, the boys break down everything that makes the film unforgettable. From the outrageous opening car chase and the destruction of Murtaugh's family station wagon, through to the South African villains hiding behind diplomatic immunity, every iconic scene gets the Born to Watch treatment.

Of course, no discussion of Lethal Weapon 2 would be complete without Leo Getz. Joe Pesci steals almost every scene he's in, introducing one of the franchise's funniest and most quotable characters. Whitey and Damo chat about how Leo changed the series' tone forever, while debating whether the increased focus on comedy was ultimately a strength or a weakness.

There is also plenty of appreciation for Mel Gibson at the absolute peak of his powers. Charismatic, reckless and endlessly entertaining, Riggs remains one of the defining action heroes of the 1980s. Danny Glover's dry reactions provide the perfect balance, proving once again why this pairing remains one of Hollywood's greatest double acts.

Naturally, the boys can't help themselves when it comes to picking apart the film's logic. Why are the LAPD driving family station wagons during high-speed pursuits? Where did that helicopter suddenly appear from? Why does a caravan explode like it's filled with rocket fuel? And how does every South African henchman seem to carry an entire arsenal beneath a sports coat?

The laughs continue with another legendary Snobs Report, a look back at some forgotten gems from 1989, discussion around Richard Donner's incredible directing career, and a celebration of just how good cinema was during the final years of the 1980s. There are plenty of side trips into other classics, including The Omen, Uncle Buck, The Dream Team and more, because one movie conversation is never enough on Born to Watch.

As always, you'll get the Good, the Bad and the Ugly, Film School for F-Wits, trivia, behind-the-scenes stories, box office numbers, memorable performances and plenty of arguments over whether the sequel really surpasses the original.

Whether you grew up watching Lethal Weapon 2 on VHS, caught it at the cinema back in 1989, or you're discovering it for the very first time, this episode is packed with nostalgia, laughs and classic Born to Watch banter.

Join the conversation!

Do you think Lethal Weapon 2 is the best film in the franchise?
Is it one of the greatest action sequels ever made?
Let us know your favourite scenes, quotes and moments by leaving a review, commenting on our socials or joining the Born to Watch community.
Don't forget to subscribe so you never miss another episode.

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The Crow (1994) Review is finally here, and the Born to Watch boys are diving headfirst into one of the most iconic cult films of the 1990s. Directed by Australian filmmaker Alex Proyas and forever linked to the tragic death of Brandon Lee during production, The Crow has become far more than just another comic book adaptation. It's a film surrounded by myth, emotion and an unforgettable soundtrack, but does the movie itself still deserve its legendary reputation?

Whitey is joined by Gow, Damo and returning fan favourite Adam "Strangles" Strang as they revisit the dark, rain-soaked streets of Detroit to find out whether Eric Draven's tale of love, revenge and redemption still flies more than three decades later.

From the opening scene, the boys tackle the elephant in the room. Has The Crow become more famous because of Brandon Lee's tragic passing than because of the movie itself? It's a question that sparks one of the episode's biggest debates as they separate the film from the legend surrounding it.

There is no denying the visual impact. Alex Proyas creates one of cinema's most distinctive gothic worlds, drenched in perpetual darkness, flickering fire and endless rain. Whitey argues it could be one of the best-looking films of the decade, while the panel discusses whether the relentless black colour palette enhances the atmosphere or simply makes it impossible to see what's happening half the time.

Brandon Lee delivers a performance filled with charisma, physicality and vulnerability as Eric Draven, a murdered musician brought back from the dead by a mysterious crow to seek revenge on the gang responsible for killing him and his fiancée. Along the way, the boys question the film's mythology, wonder why so little is explained about the supernatural rules and debate whether audiences are expected to simply accept everything without asking questions.

The laughs continue as the conversation drifts into grandad slippers, Skippy, Video Ezy memories, terrible engagement rings, goth fashion, VHS collections and one of Damo's most detailed Snorbs Reports yet. As always, no tangent is off limits.

The cast also comes under the microscope. Michael Wincott's gloriously over-the-top Top Dollar, Ernie Hudson's compassionate Sergeant Albrecht and the unforgettable David Patrick Kelly all receive plenty of love, while the panel reflects on Brandon Lee's short but promising career and imagines what Hollywood might have looked like had tragedy never struck.

As the discussion unfolds, comparisons are made to other revenge classics, including John Wick, The Warriors and Darkman, while Whitey questions whether the film spends enough time developing its central love story for audiences to truly care about Eric's mission.

The boys also explore the incredible year that was 1994, discussing how The Crow stacked up against cinematic heavyweights like Pulp Fiction, Forrest Gump, The Shawshank Redemption, Speed and The Lion King. It's another reminder of just how stacked one of Hollywood's greatest years really was.

Of course, it wouldn't be Born to Watch without the regular favourites. IMDb ratings, Rotten Tomatoes scores, box office numbers, Question Time, the Snorbs Report, hilarious listener interaction and plenty of brutal honesty all feature as the team works towards the all-important final verdict.

So, does The Crow still deserve its place among the greatest cult movies ever made? Has its reputation been elevated by tragedy, or is it genuinely one of the defining films of the 1990s? Join Whitey, Gow, Damo and Strangles as they break down every crow, every quote and every questionable fashion choice in another laugh-out-loud episode of Born to Watch.

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If you love movies, nostalgia and four mates who aren't afraid to call out the good, the bad and the downright ridiculous, make sure you subscribe to Born to Watch wherever you get your podcasts.
Follow us on social media, join the conversation, and let us know whether The Crow deserves its cult-classic status or if the legend has outgrown the film itself.

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