In the Line of Fire (1993)

In the vast archive of ‘90s political thrillers, In the Line of Fire (1993) is a movie that often flies under the radar. But for the Born to Watch crew, it's a textbook case of slick, star-driven suspense, backed by a villain so unsettling he’d make Hannibal Lecter blink. Directed by Wolfgang Petersen and starring a then-63-year-old Clint Eastwood alongside a magnificently creepy John Malkovich and the ever-glowing Renee Russo, this film is part nostalgia trip, part masterclass in tension, and part love letter to the golden age of VHS thrillers.

At its core, In the Line of Fire is a cat-and-mouse game. Eastwood plays Frank Horrigan, a Secret Service agent still haunted by his failure to protect JFK. Malkovich is Mitch Leary, a former CIA assassin turned freelance psycho who plots to assassinate the current president and makes Frank his personal project in the process. The two men never meet face-to-face until the final act, but their connection crackles through tense phone calls, cryptic recordings, and psychological warfare.

Eastwood: A Grizzled Flirt in the Line of Duty

Let’s be honest, Frank Horrigan is just another shade of Dirty Harry. He’s blunt, tired, and battling inner demons. But here, Eastwood brings a little vulnerability, a bit of charm, and even some piano playing. The Born to Watch crew were impressed, if a little amused, by Eastwood’s attempt at romantic chemistry with Renee Russo’s Lily Raines — a relationship that brings both warmth and serious age-gap side-eye.

At 63, Clint’s still got the presence, the voice, and yes, the libido. But his physicality? Running beside the president’s limo feels... optimistic. As Whitey quipped, “He's 63 years old! This should’ve been a desk job and a warning email.” Still, the film does what it needs to; it lets Clint be cool one more time, with just enough wrinkles to show he’s not trying too hard.

Malkovich: The Thinking Man’s Lunatic

If Clint anchors the film, Malkovich launches it into orbit. As Mitch Leary, he’s equal parts terrifying, fascinating, and utterly unpredictable. Whether disassembling weapons in his serial killer flat or casually threatening children while pretending to sell real estate, Malkovich doesn’t act like a villain; he is the villain. And that voice? Calm, deliberate, almost seductive in its menace.

The crew rightfully rated his performance among the great screen villains. There’s Lecter, there’s Anton Chigurh, and then there’s Leary, the guy who could whisper you into a breakdown. It’s a career-defining role, one that earned Malkovich an Oscar nomination and a permanent seat at the table of cinematic evil.

The 90s Called — They Want Their Tropes Back

From cassette tape surveillance to Clinton-era fashion and tech, In the Line of Fire is drenched in 1993. The movie leans into its tropes—the grumpy boss, the sexy female lead with a badge, the over-earnest president, and a villain building homemade gear in his garage, yet it never feels cheap.

The romance, though, is a sticking point. Eastwood and Russo have a few sweet moments, but the chemistry? It’s more “mentor and intern” than “steamy office affair.” As G-Man noted, “She’s two days younger than his daughter!” The age gap debate leads the team into a hilarious side tangent involving Seinfeld references, Monty Burns, and a philosophical question: How old is too old when the president’s in danger?

The True Stars: Landlines, Tape Recorders, and Pianos

What makes In the Line of Fire stand out is its dedication to old-school thriller mechanics. There are no satellite uplinks or AI facial recognition montages. There are phones. And if you miss the call? Too bad. Malkovich’s game of psychological warfare plays out through tense voice recordings, and it works.

The rooftop showdown and the moments of real suspense, like the apartment infiltration scene, feel timeless. No CGI, no slow-mo. Just pacing, editing, and performances are doing the heavy lifting. There’s even a genuine attempt to show emotional depth: Frank’s regret over JFK adds a layer of pathos that most thrillers don’t bother with.

Born to Watch Breakdown

As always, the crew brings both love and snark to the breakdown. Whitey defends the film’s pacing and gravitas, praising its restraint. G-Man brings the trivia thunder, detailing Petersen’s push for realism and Malkovich’s influence on the final script. Will steps in as the surprise Eastwood whisperer, pointing out how Clint manages to stay watchable even when he’s moving slower than the plot.

There’s also some trademark Born to Watch chaos:

• The debate over Renee Russo’s “right-light good sort” status.

• Damo getting flamed by the guest in the snorbs report.

• A nostalgic detour into 90s newsagencies and Inside Sport magazine.

• And plenty of roasting for Morgz, even when he’s not there to defend himself.

Final Thoughts

In the Line of Fire is a throwback in the best way. It’s smart without being smug, suspenseful without leaning on set pieces, and character-driven without losing the plot. It might not be Eastwood’s best movie, but it’s a late-career gem that showcases everything he does well, and it gifts us one of the great villains of the 1990s in the process.

If you haven’t revisited this one in a while, it’s worth the rewatch. And if you're new to Born to Watch, this is the perfect episode to dive in — equal parts reverence, roast, and ridiculous tangents.

🎧 Stream it now on Spotify, Apple Podcasts, or wherever you get your pods. And leave us a voicemail at BornToWatch.com.au — we might just feature your rant in the next episode.