The Departed 2006 Review starts with a cranberry juice and a disagreement about how to pronounce Scorsese. So, a fairly disciplined opening by Born to Watch standards. Whitey, Dan, and Gow head to Boston for a film where everyone's lying, nobody can answer their phone without making things worse, and Mark Wahlberg seems to have been given a script made up entirely of reasons to tell people to piss off.

Leonardo DiCaprio is Billy Costigan, a cop sent undercover into the crew of Boston crime boss Frank Costello. Matt Damon is Colin Sullivan, Costello's man inside the police. The two blokes are looking for each other, and the longer it goes on, the more you wonder how either of them manages to get through a day. Billy looks like he's about to have a heart attack every time his phone goes off. Colin could sell you a used car while you're standing next to the bloke he stole it from.

And then there's Jack. Nicholson plays Costello like a man who's worked out that everybody in the room is too frightened to ask him to settle down. He can make you laugh and then make you feel a bit crook for laughing. You can see why the boys have so much fun talking about him. You can also see why a film with this many good actors turns into a fight over who steals it. Wahlberg comes in swinging, Alec Baldwin sweats like Dan, and Ray Winstone manages to look like the last person you'd want to see coming through a doorway without raising his voice.

Vera Farmiga gets plenty of love, too. Madolyn has the misfortune of meeting both Billy and Colin, which gives Farmiga some terrific scenes and gives Whitey a question he can't let go. How many psychiatrists are there in Boston, and how have these two dickheads managed to find the same one? It's the kind of thing you'll happily go with on your first watch because you're too busy trying to remember who knows what. Come back to it a few times, and you start wondering how she manages her appointments.

That sends the boys back to Infernal Affairs, the Hong Kong thriller that gave The Departed its two-mole setup. It's a cracking idea for a movie. Give both sides a bloke on the inside, make both of them good at their jobs and see who cracks first. Moving it to Boston also gives Scorsese an excuse to put this particular collection of actors in rooms together and let them get on each other's nerves. The accents are a discussion in themselves. We're three Australians arguing about how to say the director's name, so naturally we feel qualified to weigh in.

The big question is whether this is the Scorsese film you'd have given him the Oscar for. Whitey's glad he finally got it and can still think of a few he'd put ahead of The Departed. Fair enough, but put this on late at night and see how easy it is to turn it off. You know who's working for whom. You know what's coming. And somehow you're still sitting there watching two blokes with mobile phones, thinking one of them really ought to hang up.

Then there's the rat. Dan's seen the film about 15 times, and that final shot still gives him the shits. So, in Film School for F-Wits, he takes aim at directors who spend a whole movie making a point and then get to the end and decide we could use a picture. You've got to hand it to Scorsese. In a film featuring DiCaprio, Damon, Nicholson and Wahlberg, the performance we’re still arguing about belongs to a rat that gets a few seconds of screen time.

So grab a cranberry juice and spend a couple of hours in Boston with Whitey, Dan and Gow.

JOIN THE CONVERSATION and tell us who steals the film, which Scorsese movie you'd have handed him the Oscar for and whether you'd give that rat the arse.
If you're doing your homework for next week, we're staying in 2006 and finally getting around to Bond with Casino Royale.

#BornToWatch #TheDeparted #TheDeparted2006 #MartinScorsese #LeonardoDiCaprio #MattDamon #JackNicholson #MarkWahlberg #InfernalAffairs #MoviePodcast

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.

JOIN THE F WITS
Is Deckard human, which cut do you prefer, and does Blade Runner get better every time you watch it?
Send us a message, leave a voicemail and share your take.
Follow Born to Watch, leave a review and send this episode to your favourite science fiction obsessive.

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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