Feb. 16, 2022

Midweek Mention... Ghost

Midweek Mention... Ghost

GHOST was a smash-hit 1990 supernatural romantic thriller that created an iconic and often parodied pottery scene which holds up surprisingly well. The story sees Patrick Swayze's Sam Wheat, an investment banker, struggling to articulate his feelings to his very much adored girlfriend artist Molly (Demi Moore). When Sam is murdered in a mugging gone wrong his spirit stays behind to help protect and warn Molly that this act of violence was not as random as it first seems. Bruce Joel Rubin's excellent screenplay provides the emotional backbone to an entertaining, well told story with a cast of good-looking and talented actors, a classic combination. The special effects remain mostly fairly effective and Vincent Schiavelli almost steals the movie in two scenes as the terrifying ghost of a suicidal subway victim. Not the sandwich shop in case you were wondering. If you thought AIRPLANE! Director Jerry Zucker was the obvious choice to tell the tale you're a genius because the writer cried when he found out. 



Sidey: We good, Should I put The real one


Dan: Cheers to blend

Sidey: Riggs? you returned

last week and nominated some spooky content for us?


Reegs: ghost. Yeah. It had been a long time since I'd seen this.

Sidey: Yeah. I saw it at a cinema and I don't know that I've seen it again


Dan: So you know, the cinema, what was that? It was 9 19,

Pete: I also saw it at the cinema.

I watched it, I think it must've been at the Odeon and I remember, yeah.

Specifically because I met up with a mate of mine and we went, I had the, like the key to my dad's office, which is just around the corner. And we went and sniffed aerosols my dad's office and then went and watched a ghost and laughed and cried all the wrong moments because we were fucked because it's not a don't do that.

Kids do not sniff ourselves. It's bad

Dan: I was thinking you were going to say, I've got a load of clay. Me and mama hates. So this is the story of Sam and Molly.

Sidey: Yeah.

Dan: A lovely young couple in New York,

Reegs: Dan with a jump scare. I don't know whether you notice that one of the only real jump scares that really worked in the movie was the title card that came crashing in after about 20 seconds ghost. And then it shatters and I fucking shot myself.

And then, like you say, we're introduced to them shirtless. I think they are, except for them.

Pete: Yeah. She's got like dungarees on or something,

Sidey: She's an artist. Do they


Pete: calls with them

Reegs: they're all smashing the walls in

Pete: really hot that scene, isn't it?

Sidey: there. New York living in a loft. We've seen this well, I suppose he was quite well to do city

Dan: He was a banker. Yes. And Demi's an RT.

Sidey: set unemployed. Yeah,

Reegs: he's kind of a Dick. I think he never tells his girlfriend. He loves her. He says ditto when she says it to him, which becomes an early plot point later. He supports his douchebag mate Tom Tony Goldwyn. He plays Carl and he does this practical joke when we're introduced to him in the elevator where he's coughing and spluttering over everybody.

It looked really awful, didn't it? But it was a shit joke at the time as well. So but yeah. So he coughs and splutters over in pretends, he's got some rash has it's affected the genitals what a lovely joke it is for just those two people.

Pete: I was chuckling at that, but I obviously didn't remember that because I was high on aerosols, but


Reegs: and like you say Masi then what is her name?

Molly. She is an artist and she's redecorating their new day. She redecorated his chair and then they occasionally have messy pottery sex to that fucking awful Unchained melody.

Pete: Well, why don't you find it awful. It was over. I remember it being like headier CEO a bit like Brian Adams with the Robin hood. So it just got ridiculously overplayed when this film.

Reegs: No, it's a fucking dirge anyway. No, it's terrible.

Pete: it goes somewhere. It's not, it's not Patterson

Sidey: McCartney owns the rights to that song.

Yes. that

Every time it gets released that's number one, he makes. me.

Pete: up short of a bubble,

Sidey: Yeah

Reegs: But I was surprised how early that scene is in the movie. It's in about the first 15 minutes,

Sidey: he dies

Reegs: Yeah. But I thought I sort of it's the Mandela effect or whatever, but I thought it had been, there was a scene where they did it and he was a ghost and whatever,

Pete: but

Reegs: No, there wasn't because it didn't happen.

Dan: So

Reegs: literally just watched the movie.

Dan: So there is kind of, for those of you that haven't seen this movie then Molly and Sam, they're the redecorating, this New York apartment and it just this perfect 15 minutes.

Just about how much they're in love. Really. Isn't it. As you said that there's a kind of emotional barrier between him where he will just say ditto instead of, I love you, but for the most part, it's a normal relationship. It's just

Reegs: It's a normal relationship, but it's also the sort of normal relationship where when you're trying to get a really heavy object up from the street and you're pulling it up on ropes that your partner can just come in and sort of swing

Sidey: across

Reegs: the bar, a volume to pull inertia back in and pull it in.

And everybody goes, wow, what a great move that wasn't dangerous at

Sidey: he has better hair than her as well.

Pete: Yeah, he does

Dan: talking Patrick Swayze though. Aren't Miami

Pete: Yeah. He's he's like a good in this and he's looking good. Yeah,

Dan: They're actually a really good cup together. I think, you know, Demi Moore,

Reegs: he looks about 15 years older than her though.

Pete: I remember like tell me more was, was a bit of a siren around these times and I wasn't digging the hair.

Sidey: I don't Like

girls, with short

hair facts.

Pete: I could definitely think of, I was like, I can definitely think of some girls who short hair who've looked hot with it. She looked like a boy.

Sidey: It's not enough for me to dictate to women what they should do with their


It's just

Pete: Yeah.

That, that isn't what you were saying. Yeah. although the.

so the

scene, like the iconic kind of Clayton. Very very sort of like phallic and suggestive. And

Reegs: It's, it's just kind of funny. And I guess that's probably because it's been parodied so much now it was in the naked gun, wasn't it? And some TV things as well. It wasn't very sexy. I didn't think it just looked.

I was a bit like she's, she's doing her job at two o'clock in the morning. Cause she can't sleep, but she said artist and he just comes in and he's like fucks supper and she'd be like,

It was two

Sidey: I been a hundred percent of it. Like

What the fuck?

you doing?

Took me ages to do

Reegs: Yeah. And then they go and then they're magically. I know it's Hollywood in that, but they're magically completely clean when they have sex.

Pete: Yeah. Let's assume there was a shower in between

Sidey: We could have had a shower

Reegs: into their original clothes. Again,

Dan: It's funny. The people making fun of that, that scene because the guy who directed this did airplane as well. Didn't he?

Reegs: Yeah. And the writer Bruce, somebody, I think his name is Bruce Joel. Well, it's pretty cool. So Bruce Joel Rubin he cried when he heard that Jerry's ARCA was attached as director because all of his work had been airplane and police squad and he'd written yeah.

Dan: Okay. Yeah,

Reegs: this, wherever. This is,

Dan: You know, he doesn't try to make this into a a slapstick comedy which it definitely isn't. And then tragedy strikes when they go to coming back from watching Macbeth and another kind

Sidey: things Yeah. They decide in their infinite wisdom to walk down what looks like the most dangerous street in New York,

Reegs: They recreate Batman's origins. Yeah.

Sidey: Yeah.

it was the same

Fucking reckless best. And there's, a attempted robbery.


Reegs: I think Sam is reckless here. He just, I mean, I know later on we find out there's more, but he struggles with the guy. It seems completely

Pete: well, the guy we find out later that the guy was just going to Rob him there. Wasn't going to be a murder.

It was just meant to be a robbery. And he turned that robbery into a murder,

Reegs: the murder.

Dan: With our girlfriends or wives and where we come out of a place and we're down a lonely alley, dark at night, and some guy trying to Rob us, we take him on wouldn't we, we wouldn't just hand over our

Sidey: I'm with a human shields right

there So

Pete: I've I've been robbed at gunpoint and, and I just handed the money over.

Reegs: Of course he did, because that's

Pete: what I did. I, cause the reason is that the guy had a gun and could have shot me and I didn't. Yeah, I was just sat on a bus. So

Reegs: is quite effectively done though. The murder because there's a struggle. It's, it's poorly lit. There's a struggle. You hear a shot, the guy, the assailant goes running off and then Sam runs off after him and you hear the footsteps and then you sort of turn around and in the background, you see Demi Morrie's cradling, Sam's lifeless

Dan: think that's really good because you're still running off and you think it, and you find out when he does. fuck. He's he's on the floor. You know, he's being cradled here. And he he's run off like is if he's still alive and, and that's his character now, all the way through the rest of this film, where he is just this person trapped, seeing everything that's going on, he shout and he's screaming, but you just can't be heard.

Sidey: He

had noticed something at work, which was kind of a bit throwaway at first, but it becomes important later on where he says to his colleague just before a meeting, he says, there's too much money in this bank account.

It's just these bank accounts. Aren't supposed to have all this. money in. And is

that what I'll, I'll look into it,

you know, and that's the sort of left like that

at that point.

Then he's obviously he's killed.

And I, I certainly had. you know, even watching this again but so many years in between I was in the

Dan: Yeah. I mean, th the, the murder itself on the face of it, it's a tragedy. It's, it's an accident. It's a random act of violence. It's not a planned assault on him for any other reasons. So

Reegs: Sam has the opportunity to, to leave after he's murdered, there's a white light opens above him. And of course it's all very poignant with Swayze not being here. But he, he, he doesn't leave and he ends up back at the hospital.

And this is one of the scenes where we start to establish some of the rules and I use that word very loosely around what, what the ghost can and can't do. Cause there's somebody walks through.

Pete: Yeah

Reegs: in the hospital and you get this terrific, weird shot of him, like moving all his blood in skeleton and sinews.

Pete: Yeah.

Reegs: And then you see another man die on an operating table.

Pete: Another ghost light sat alongside him sort of giving a running commentary going, oh no, he's a gunner. I've seen this before and yeah, he's gonna, he's gonna go.

Reegs: so they're all around us, dead people, but they can't interact with the.

Pete: Some of them can.

Sidey: the guy says doors, you'll have trouble with doors,

first, and

then you get all this stuff. Cause I couldn't really work out what's going on when he puts his, Any, any part of his body that you've tried to put through something you start to take




actually I didn't really understand.


dunno What part of the rules that was. You couldn't be in like a wall for too long or

you would.


I don't know, didn't really

Reegs: Well, we're basically led to believe that he kind of like Dodges around doors and stuff. Cause we see shots of him just sort of moodily sitting around the apartment whilst Demi Moore, you know, is, is experiencing her grief.

Pete: Well, that, that's what he does next. After he leaves the hospital, this goes back to the apartment and even.

He can, he can move through things. He he, he doesn't, but he can, at this point, he's gone through a person, everything, but the floor is okay. And the chairs are okay. Yeah. That's because that's, that's good.

That is actually pretty convenient. Cause otherwise you just fall straight through the building.

Dan: in Australia.

Pete: Yeah. So

Sidey: while he's he goes back

to the apartment and the assailant comes to them.

Dan: Yeah.

Sidey: panic

Pete: Is it fair to say that right? From the first time we see him in the alley that we, because we grew up and we're children of the eighties and the nineties, we immediately know he's a bad guy because he's of a different ethnicity to Caucasian.

So straight away. That's how these things went like back in the day. Obviously that's what we grew up. Kind of like being told. And now obviously it's been like, those wrongs have been righted, but yeah. Now, now this guy, what is he? He's kind of like I want to say like Cuban or something along those lines.

Willie Lopez,

Reegs: Lopez

Pete: Lopez. Yeah.

I've seen him in other things. I feel like he's been in some spoof stuff.

Sidey: Yeah.

Reegs: He breaks into the apartment where using the key that you stole during the robbery. And then is she already in there or she


Sidey: goes. changed and he follows


Dan: He's kind of trying to warn her as well.

Isn't he he's

Sidey: we've already had this sort of interaction. When he first went back to the apartment, I've timed that the cat.

can see him.

Pete: Him at

Sidey: Yeah.

So he's upstairs. Willie, the murderer slash Rover is sort of hiding around the corner.

Reegs: This is amazing.

Sidey: And

he's going to, well, we don't know if he's just there to Rob something or he's just going to finish,

get rid of a witness or something like that, you know, and kill her as well.


just don't know

Reegs: well, she starts to get undressed

Sidey: as

Reegs: well, and he's watching in the mirror and definitely thinking about cracking one out.

Sidey: I was

Pete: Lucky Willy.

Reegs: and then.

Sidey: Swayze scares


cat into scratching Willy on his



Reegs: So the cat scratches, Willie, Willie, Willie legs. It cause it's quite a fucking

Sidey: vicious

Reegs: scratch

Dan: The head of Willie is always parishes.

Pete: very painful.

Reegs: a, and so Sam follows Willy back back to his GAF.

Sidey: this was going on. she didn't hear

that commotion.

Pete: She was

oblivious to Willie.

Dan: She didn't hear the jump on Willie. No.

Reegs: So Sam follows Willy back to his GAF. And he, we, over here, half of the conversation, we don't know who he's talking to, but it's clear he was acting on orders.

And this is also the first time that we get. Terrifying Vincent Schiavelli as the subway ghost. It's the first time we meet him, he's he's a ghost who's claimed the subway as his own and he warns Sam or from being there. And then reveals like crucially that it is indeed possible for, for ghosts to interact with the physical world because he smashes some glass in the

Sidey: try and

Dan: He can manipulate matter.

Kind of steal the scene as well. He doesn't eat cause he's such a, he's one of the characters that I remembered from this film all the way through since

Sidey: because he says, fuck it.

doesn't they?

Pete: he does.

Sidey: And that

was the first time


Dan: the

Sidey: say not at the cinema, you know? Cause I was 12. Yeah. Yeah. Pop my fuck cherry.

Dan: We've had it all in this film. Yeah.

Reegs: On the way out of Willy's Gaffey spots. Desperate because he doesn't know what's going on and he's worried that Willy's going to be going back to the apartment and he can't warn Molly about Willie. So he's looking around, he spots a sign for a sidekick.

Um Yeah. Yeah. It's Whoopi Goldberg's or Udemy brown who can contact your dead relatives for 20 bucks at a time.

Pete: What'd you? What'd you call that

Reegs: a shyster

Dan: hustler. Yeah.

Reegs: artists.

Dan: Yeah. She's, she's not the real deal.

Pete: in that line of work. Yeah.

Reegs: in the spiritual medium

Dan: she's not the real deal until Sam comes along and actually then speaks to her and she can hear, and again, wipies right at the top of her game here.

Isn't she is she, this is, this is peak warpy. As the psychic, who's suddenly hearing voices for real for the first time she's just freaking out and can't believe it.

Reegs: it's a good scene. Isn't it it's play. It's pretty funny. She's funny in it. He's funny in it. And then it leads into a, another good scene where he's trying to convince her, oh my God, you can hear me.

I have to get this message through and she doesn't want to do it. So he stays up all night singing and read the eighth at her.

Dan: Yeah. There's, there's a few lofts. There's a few. As it, you would expect from this director, Whoopi Goldberg but using comedy at the right time in this

Sidey: it's pretty light.


pretty fluffy

for the most part,

Reegs: It's

yeah, we can get into that, I guess.

Dan: And so she is she eventually relents doesn't she, she, she gets around

Sidey: there

Dan: because you can't hear, hear there's any mute anymore.

Reegs: Yeah.

Is there a famous cafe,

Sidey: I didn't catch the name of it.

Pete: First of all, doesn't see shelter from outside of the apartment.

Reegs: but

Pete: Yeah. So after she's showing up to the apartment, cause she brings her at first and says, I'm basically, I'm talking to you, you're dead fella. And she hangs up on her, obviously, as you words,

Dan: he

says he loves you. It never say that.

And then he drops the

Pete: That's in that's in the cafe. Yeah. But she starts shouting up stuff to the, to the window about you know, reminder about this and that and all the sorts of things that only he would only, he would know. So, and she's intrigued enough to come to the door thing. That's probably when they go out to the cafe,

Reegs: I was trying to think like, what if I was dead? And I was trying to communicate to my wife, like what intimate thing could I

Dan: we just go

Reegs: I always forget to put the bins out. You know what I mean? Like,

Dan: You can go straight onto somebody's face. Loads of things now that they wouldn't have had in those times and just go, oh, I remember that holiday we had in fill in the blanks member. This, you could do it now.

You'd probably just close in on somebody

Reegs: terrifying. Dan

Dan: anyway. So watch out

Pete: There must be things that only we know.

Each others. Yeah. The only I know about your messes done. Yeah.

Sidey: So they do meet in this cafe and that's what he does. She says he would never say, I love you. And she walks off. and as she's walking to me what was walking off. He says, shout data.

and that's the



brings out bank shot Okay yeah,

It must

be real,

Reegs: It's definitely, definitely, definitely here.

Sidey: Yeah

Dan: something in this.

Reegs: But also Carl creepy Carl is trying to convince Molly that Odom is a fraud and he's been, he tells her to talk to the police. So she's conflicted

Sidey: in cases

Reegs: And the reason he's putting moves on their side is because he was involved in a nebulously defined money laundering, scheme that involved

Sidey: is there. yeah. Drugs. Money, laundry.

That's why the extra money in those bank


Reegs: 4 million quid? That he moved into an account for Rita Miller, that he was going to withdraw,

Dan: saving up for a two bedroom apartment. And

Reegs: So Sam wants to sort this out, doesn't he? So he goes back to the subway Poltergeist guy, Vincent Schiavelli. The guy is in it for about five minutes and was the main thing I remembered about this movie all these years later. And he goes to master the skill of moving objects with his, whatever. I

Dan: I ain't got mine presence kind of senses, and he he's able to do it. He we've all his strength. He is just able to, what was it? Moves first? Is it a pen? A bottle top? Yeah. They all know.

Pete: he tries like fingering a shoe a few times, but then eventually things that straight off the bin.

Reegs: Yeah. Th the special effects are sometimes really good and sometimes really awful of him as a ghost.

The green screen stuff has aged really badly where he's passing through things.

Pete: Obviously this movie was over time. I think you mentioned it in a previous pod side where the technology existed for you to do the things, but it definitely like if they don't need just wait at another decade to like, you know, really fine tune it, but films were still getting made.

And this, this obviously was a big film at the time.

Yeah, it was bigger than that. It didn't like stuff like that. I think offense like you guys who sort of know a lot more about almost like how these things are done and everything, and it does someone like me, who I take these at face value. I just know this was made at the time that this was made these special effects weren't not bad at all is how I see

Reegs: It's just interesting though,

Pete: I know that laughable compared to like what you get today,

Reegs: well, but then they're not all laughable and that's the thing. So it's interesting to note which ones still

Pete: stand up. Yeah.

Reegs: because there's a few shots in this, like him disappearing into the light and all that is great.

Dan: And

I think a lot of it just going over your head, Pete,

Pete: Yeah, probably complicated for me.

Reegs: Anyway. So they, the resolution of the plot is that Odie may brown is sent in to pretend to be Rita Miller, withdraws all the money. And then so she's got the check and she gives it to a nun

Pete: Just

Sidey: Yeah. Takes some convincing But yeah,


Reegs: Yeah.

Sidey: The bad guys die and go to hell.

Reegs: Well, oh yeah. And

Dan: Does sister act and gets the money, I guess

Pete: Yeah. That's why she became a nun.

Dan: the same world.

Sidey: kisses to be more.


Reegs: yeah, exactly. What did Joe? Whoa, whoa, whoa, whoa. Was just skipped through a million bits.

Sidey: We really accelerated our way through the plotter

Reegs: yeah.

Dan: There is a

Reegs: the cool stuff though, of like when Sam's is typing on the. On the computer screen, he's putting murderers, Sam, Sam, Sam, Sam, or whatever, and all that stuff. And then like they have a fight.

And like you're saying, they do get dragged off to hell by these really crude.

Black demon

Dan: It was quite spooky at a

Pete: which you've already, you've already seen. Cause he's already dealt with Willie. I like chasing them out.


Sidey: hit by Laurie lorry

Pete: Willy gets crushed. Yeah. It's her in a car and a lorry and does the same thing. And I like that it's called it is called that, but he does the same thing where he's kind of like lying on the.

Away from where the accident happened, like gets up and then looks over and sees his own like dead body and then gets dragged off by some yeah.

Dan: Yeah. Like the demon ghosts and things. But I remember that at the time it was like U P I share it. I don't, you know, it didn't detract from the film.

Oh, special effects. I know they're doing better nowadays, but the effects, the same

Reegs: Ms.

Fear is good. What it creates, you know? Yeah. It's still pretty tense.

Dan: And then you've got this this bright light and she, she kind of gets to see him. One more time before he, he departs off

Reegs: the kiss and the fondling, because that is

Pete: back in the apartment,

Sidey: possesses

Pete: yeah. We've already seen it. One of a silences where now she can hear loads of

Sidey: yeah

Pete: One of the ghost is like jumped in her and started like talking to is like why food is so sat across the table and starts having a popper, which was a bit silly.

So now we've seen that, that, that can be done that, that not only can she hear them, but they, people can, like, she can channel.


ghost. So it all resolves back at the apartment where call's going to go there to try and find out what's happened to the money and kill everyone I presume. And we'll be Goldberg has gone there with Sam.

He does the thing with the, with the pending. I can drop. So she slides it under, yeah. She slides it under the door so that he can like slide it up the wall up the door and, and into her hand and so on. So, and then, yeah, he, she channels him on, they get off with each other.

Sidey: Yeah.

Reegs: It's it's it's impossible not to think about what is actually happening at that moment, even though the film shows us Patrick Swayze Moore, we know that it's, she's getting off with her to Mae

Sidey: Yeah

Pete: Now

Reegs: I really wish they'd shown it though.

Pete: this was interesting because for the first time in my life this is a film that I've watched with Whoopi Goldberg in it. And I actually thought I would, I about Whoopi Goldberg, which maybe that's a sign of my age now that you know, she's become like a, an, an interest. I'm not saying, yeah, But it was a question that I asked myself,

Reegs: it's too racist for me.

Pete: racist, or

Sidey: political views about the Holocaust. Maybe that

really turned you on.

Pete: I've I don't know. I assume that she w I, I, she, with a name like Goldberg, I assumed she was one of your people not uh oh, right. Okay.

Reegs: she's not a fan. I don't think. Or at least not interested.

Pete: Okay. I didn't know that. Well, that's put me off her then. That's.

Reegs: Yeah. It's not going to happen. I don't think

Pete: yeah. Me thinking would I have sex with her is not racist though.

Let's just establish that because I think that I thought about Patrick Swayze as well, so yeah,

Dan: I think she won an Oscar for this. Did the,

Sidey: she

did indeed. Daniel, you are correct.

Dan: There you go. So this was peak. War periods where he said, I think she did jumping Jack

Pete: flash,

Dan: which was in and around this time or riding on the coat toes of, of her success.

Yeah. She had a string of, of popular movies.

Pete: and star Trek at some point

Sidey: not just at some point.


going in. Yeah, she's in like, she's a recurring character throughout a next generation. and she's in series two. If the

Reegs: She likes C3 time or something.

Sidey: was this ambiguous about what what species of alien she is, but she has existed for millennia.

of her, The rest of her kind were killed by the book.

Reegs: I fucking hate it. When

Sidey: happens

It's a real shame. Money-wise on this

Movie. It was thrown together for mere 22 million us.

Dan: is


Sidey: It's

bigger than that, Dan?

Pete: Huge,

Sidey: Over half a bill.

Yeah. It was the biggest film of 1990.

Dan: Wow. I probably have 1991 Israel. And that, that margins, I mean, that's huge. Isn't It A half a billion from a


Sidey: was at the time, at the time. of This so 506 million. It was the third highest grossing film of

all time.

Which I did not know until researching that.

Pete: flipping height. I feel like we should talk about the, the, the very sort of like the final scene, the, the death, that calls death and also the, the, the going off last bit that Dan kind of already mentioned, but I just thought like that, cause it's not a scary cause I was watching.

Like in segments whilst like kids were walking in and stuff like that. And there's nothing really too bad.

Even though it's a film about like ghosts and, you know, there are deaths in it and stuff like that, but that's like fairly fucking brutal. Like the, the, the final debt, like the pain

Sidey: dragged off.

Pete: that P yeah.

That, that bit, but like the sort of like smashed pane of glass that like skewers car.

Sidey: No Cause he's in a row.

Pete: Yeah. He's a piece of shit car. Yeah.

Reegs: It is a pretty dark movie for a 12 day. I

Sidey: yeah, probably finding their feet. or my, What was acceptable for



Dan: was about to say it's like a late eighties, nineties, 12, isn't it?

Pete: 12 has been a thing. Cause I seem to remember.

Sidey: Because you had,

a Batman.

Batman was

Pete: Yeah, because I do, I do remember like the first ever like twelves coming along and, and, and it being a bit of like ambiguous about how some of

Sidey: Batman is obviously cartoony, Fighting violence. dark, but This is


proper you know, people dying and going to hell and stuff.

Pete: So

Reegs: it?

Pete: Yeah

Sidey: It's good. I love the nineties stuff. This is, you know, peak.

I like the sways looking great in there. This is looking great to me more I can take or leave. but yeah, wifi was great.



but fine. I really enjoyed it. Yeah, it.

was good.

Reegs: Yeah,

it was worth revisiting.


Pete: Definitely. I think I'm, I think I'm with you. So I don't think I've watched it since the cinema, because it was a certain thing. It was, it was absolutely like an iconic must-see like w w like

Sidey: cultural

Pete: not, yeah, we were what, like 12, like 12 year old lads going to the cinema to watch this.

It's it's effectively a romantic. Story that wouldn't necessarily be kind of in line with everything else that I was watching at the time, but you absolutely had to go and see it. And no, I think it, when it doesn't, it doesn't necessarily stand up. And I think it benefited from, you know, in those days you had almost like the one like blockbuster film of the year, and this was that.

And there would, you know, whereas nowadays there's like, there can be tons of them all live in this in the same year. So obviously benefited in the box office from being like by itself for it for a little bit. But it's still, I'd say it's, it's a classic.

Dan: Yeah. I really enjoyed it. I think you will too. I don't think you'll need spirits to get your food list.

Reegs: I think it's a good example of a, of a sort of fairly conventional and sort of formulate movie, but done really, really well with a lot of suspense.

And maybe it has that added layer of something significant about it because Patrick Swayze's dead as well. And yeah, I, I really enjoyed it. This is well worth revisiting,

Pete: It has dated, but it's still.

Sidey: Yes.