Genre criticism with jokes left in.
We Love to Watch treats movie criticism like a fast conversation between genre lifers with long memories and little patience for tidy reverence. Episodes move through theme months, from Escape from New York descendants to Lovecraftian horror, with jokes that keep turning into actual analysis.
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We Love to Watch is a long-running movie podcast organized around theme months, genre lineages, and the kind of arguments that begin as jokes before revealing a real critical spine. Aaron Armstrong and Pete Moran are the repeated names in the openings, and the show depends on their fast back-and-forth more than on polished recap. It starts from the premise that movies are funnier, stranger, and more legible when placed next to their neighbors. That can mean putting Escape from New York beside Lockout, Doomsday, 2019: After the Fall of New York, and the Bronx Warriors films. It can also mean following a Lovecraftian thread through The Cabin in the Woods and Occult. The show is especially good with movies that are derivative in fascinating ways. It notices when a film borrows attitude, politics, or iconography, then asks what changed in the borrowing. The tone is loose and irreverent. The thinking is sharper than the messiness suggests. A throwaway joke about a title, a bad reboot idea, or a character actor’s usual casting lane can become the doorway into a larger point about genre expectation. Personal memory matters here, too. The talk often begins with when someone saw something, how fandom held it at the time, or what other movies sit beside it on the mental shelf. That makes the criticism feel lived-in rather than sealed behind a thesis. The show can be crass, but its affection for the material is clear. Even when it is laughing at a movie, it tends to understand why someone might defend it. Another voice on Occult widens the discussion without changing the basic rhythm. The strongest episodes balance escalating bits with close attention to influence, metaphor, performance, and film-world logic. We Love to Watch suits listeners who like cult objects, horror corners, action knockoffs, and the pleasure of hearing people argue their way into clarity.
Made for: For movie fans who like cult cinema, horror, action oddities, and theme-month comparisons more than neat plot summaries. It suits listeners who enjoy criticism that is conversational, funny, and willing to wander before landing the point.
What sets it apart: The show’s edge is its mix of loose banter and real genre literacy: a joke about an old pilot or Escape from New York imitation can turn into a careful read on influence, politics, or film language. It feels casual without being shallow.
A movie podcast by Aaron Armstrong & Peter Moran that specializes in genre hits. Each month, we take on a four or five movies in a specific subgenre, and compare/contrast them as we go. Please contact us for feedback, suggestions, and support!
Based on 6 episodes we listened to · September 2026
Aaron Armstrong and Pete Moran turn themed movie conversations into funny, perceptive studies of genre, craft, and cultural baggage.
Aaron Armstrong and Pete Moran build each month around a movie theme, then let comparison do the critical work. Their conversation can move from the borrowed genre machinery of Doomsday to the quiet dread of Uzumaki (2024), with enough attention to pacing, influence, and…
Doomsday leads to Scottish accents; your taste for movie-night tangents has found a home.
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Short reviews from the PlayNext desk, based on the episodes we processed.
A loose 450th-episode riff on horny horses, Sherman Hemsley, and the strange logic of a Mr. Ed reboot.
We Love to Watch marks its 450th episode with a loose, affectionate pass at a Mr. Ed reboot, turning the hosts' long-running fondness for a show they have barely watched into a surprisingly durable question: is the horse's central trait just overwhelming horniness?
A Doomsday conversation that starts with Escape from New York and drifts into accents and Braveheart.
Aaron Armstrong and Pete Moran turn Doomsday into a lively genre conversation, using Escape from New York as the main touchstone while folding in several other movies with little effort to hide the influence.
A loose, funny In the Mood for Lovecraft listen that lands on accountability without forcing the issue.
We Love to Watch keeps its In the Mood for Lovecraft run grounded in a cosmic-horror movie, but the real focus is pain, sympathy, and how trauma can spill outward.
Uzumaki's quiet dread makes a town's refusal to react feel like the real horror.
We Love to Watch frames Uzumaki as horror rooted in a town's determination to carry on while the wrongness around it becomes impossible to ignore.
A holiday movie discussion where grief, twinkly scoring, and Sam Raimi's abandoned version keep running into each other.
Jack Frost gives We Love to Watch a holiday movie that keeps testing how much grief a Christmas story can reasonably carry. Aaron Armstrong and Pete Moran trace the film from a child's bad grades and unresolved anger after his father's death to Mark Addy's steady presence, which…
A Mel Brooks discussion becomes a pointed look at satire, memory, and the risk of turning Nazis into punchlines.
Aaron Armstrong and Pete Moran locate a strong way into Mel Brooks's comic legacy, moving from Blazing Saddles to Holocaust and 9-11 jokes, then into the uneasy cultural habit of turning Hitler and Nazis into comic shorthand.
Marvel TV reviews with pub-quiz energy.
Aaron Armstrong and Pete Moran reopen We Love to Watch with 'Cursed Christmas Quickies,' then pair Jack Frost (1997) with Jack Frost (1998) after joking that the same title sat side by side in a video store.
Hosts Aaron Armstrong and Peter Moran launch their Mel Brooks month by analyzing his 1967 film 'The Producers.' They debate whether the comedy still elicits laughs today and explore its controversial 1968 reception for mocking Hitler.
We Love to Watch marks episode 450 by choosing a 2004 Mr.
Aaron Armstrong and Pete Moran open by putting Doomsday into a broader run of movies shaped by Escape from New York.
This podcast episode discusses the movie 'Lockout' (nicknamed 'Spacejail'), analyzing it as a ripoff of 'Escape from New York' and exploring its cult status and humorous elements.
This podcast episode discusses the movie '2019: After the Fall of New York' as a ripoff of 'Escape from New York' and draws comparisons to 'The Last Jedi' and 'Children of Men'.
The hosts discuss their movie podcast's theme month, focusing on films like '1990: The Bronx Warriors' and 'Escape from the Bronx', with humorous banter about actors like Wyatt and Kurt Russell.
The hosts discuss the political themes and historical context of the movie 'Escape from New York,' comparing it to 'Escape from L.A.' and analyzing its commentary on Republican presidents.
The hosts discuss their movie podcast theme 'In the Mood for Lovecraft' and review the film 'Cabin in the Woods', which one host praises as a favorite from the past 15 years.
We Love to Watch opens with Aaron, Pete, and Ryan settling into the third week of their In the Mood for Lovecraft run.
The show opens with a pun about a downward spiral.
This episode analyzes the 1988 animated film 'The Land Before Time,' discussing its depressing themes, plot elements like the Great Valley, and humorous takes on dinosaur limitations.
The hosts discuss comedians like George Carlin and Bill Maher while introducing a new theme for their podcast in the new year.
The hosts discuss the accuracy of a movie's portrayal of late-night fast food experiences, comparing chains like McDonald's, Denny's, and Perkins while reflecting on American diner culture.