Aussie and the Scotsman - Unfiltered Movie Podcast

This week we are reviewing Weapons, the 2025 supernatural mystery horror film written and directed by Zach Cregger — the man behind Barbarian — starring Julia Garner, Josh Brolin, Alden Ehrenreich, Benedict Wong and Amy Madigan.
At exactly 2:17am, seventeen children from the same third grade classroom simultaneously leave their homes and vanish into the night, arms outstretched, as if summoned. One child does not go. Nobody knows why.
 
The film unfolds in overlapping chapters from different perspectives — a grieving father, a scapegoated teacher, an out-of-his-depth cop, a homeless addict, and finally the ancient, malevolent aunt who has been bending the children to her will.
Before any of that, the Scotsman warns listeners about AI voice cloning — scammers can now replicate your child's voice from five seconds of voicemail. "This is the next stage of spamming and scamming." The Aussie zones out halfway through. The Scotsman notices immediately.
Shoes are next. The Scotsman's kids leave them in piles at the front door. He has bought shoe racks. Nobody uses them. The Aussie responds by pulling the story entirely around to some old Asics he found at the back of his own cupboard. The Scotsman is briefly furious.
On the film — both hosts are unimpressed and not shy about it. The Aussie picked it. He is on the receiving end immediately. "You're on a two week ban. I'm picking the next two." The Scotsman calls it "mumbo jumbo" and "Hollywood gone bad."
The specific grievances are pointed. Seventeen children go missing and Josh Brolin's investigation involves drawing lines on a map with a ruler, then knocking on a neighbour's door to ask politely about their security camera. The neighbour says no. He accepts this and leaves. "Who is writing this crap?" Nobody has a satisfying answer.
Credit where it is due: the overlapping chapter structure is clever, Amy Madigan as Aunt Gladys is genuinely unsettling, and Benedict Wong's one-shot chase into the petrol station is well constructed. The premise remains brilliant. The execution does not match it.
Superstitions spiral out from the discussion. The Aussie claims no belief in the supernatural — then admits he will not walk under a ladder or open an umbrella indoors.
The contradiction is noted. Feng shui, tarot cards, and a T-intersection property that cost a friend hundreds of thousands in lost buyers all get a run.
Rohan Reminisces covers 2025 — Anora winning Best Picture, Elon Musk at $342 billion, and the Coldplay kiss cam moment that broke the internet. It is brief. The Scotsman is not wrong to call it brief.
Trivia: $38 million budget, $268 million gross. Cregger wrote the script in his garage next to a running washing machine. Pedro Pascal was originally cast before Brolin replaced him. A full Aunt Gladys backstory was cut for time. And finally — Cregger has accepted $20 million to direct the Resident Evil reboot having never seen a single film in the franchise, announced he is ignoring everything prior, and described his approach as *"making a film about a character I have invented inside a world I am inventing."* The studio said yes. September 18, 2026 will tell us whether that was genius or catastrophic hubris.
Ratings: 2.3 from the Scotsman, 1 out of 5 from the Aussie. Both would rather rewatch Sinners. High praise it is not.
The podcast is out now on YouTube and also available on Spotify and Apple Podcasts.
Please hit subscribe or follow — it genuinely helps us be seen among the thousands of other podcasts out there. Thanks for your support.

This week we are reviewing the best movie one-liners of the last 50 years, a movie debate special built around the most iconic quotes ever spoken on screen — from immortal punchlines and threats to speeches that may or may not technically count as “one-liners,” which becomes a major part of the argument.
What starts as a list quickly becomes something much better: a full-blown debate over what makes a movie quote survive.
This episode starts with immediate friction. The Scotsman questions the title, the time range, the rules and even whether the whole concept is properly defined.
The Aussie insists he has parameters. The Scotsman insists the parameters are rubbish. And within minutes the show is exactly where it should be.
The pre-film chat is half the fun.
Before the ranked list even begins, the two hosts spiral through notables, disqualifications, impressions, arguments over whether monologues count, and a gloriously butchered Samuel L. Jackson attempt that may be worth hearing for that alone.
There’s a running joke about one host being “the lines man,” a very funny fight over whether reading from a list is cheating, and a sharp argument over whether a quote only matters if a ten-year-old, a fifty-year-old and your mum would all recognise it.
Then the big guns start flying.
There are battles over quotes from Jaws, Taxi Driver, Rocky, Top Gun, Terminator, Star Wars, Jerry Maguire, Dirty Dancing, Ferris Bueller, The Shining, Scarface, A Few Good Men, Braveheart, Forrest Gump, Apollo 13, Goodfellas, Gladiator, Pulp Fiction, Die Hard and more.
But the real entertainment is not the lines. It’s the disagreements.
There’s a terrific recurring argument over whether some entries are speeches, not quotes. There’s repeated pushback over whether one host has misunderstood his own rules.
There’s a very funny late-episode fight over whether the true number one should really be Star Wars, The Terminator or James Bond territory. And there’s a genuine debate over whether the most famous line and the best line are even the same thing.
The Scotsman calling out That’s a monologue. becomes a running gag. The Aussie’s argument for a certain Darth Vader line takes a serious hit. There’s a bizarre and very funny detour involving “the most used line during sex.” And the Samuel L. Jackson performance… is something you have to hear.
There are great direct quotes throughout. You can’t handle the truth. becomes a point of principle. I’ll be back. becomes almost a philosophical argument. May the Force be with you. becomes a generational stress test. And Divine. somehow emerges as an accidental Aussie and Scotsman in-joke contender.
There is no Rohan Reminisces this week, but the trivia energy gets absorbed into the debate itself, especially in the late-stage argument over which quote genuinely crosses generations.
There’s also a strong tease here for future episodes. Best monologues. Star Wars. Wizard of Oz. Rocky. Even a possible episode on overused words inside the podcast itself. You can almost hear future episodes being born in real time.
If you’ve ever quoted a film in a pub, argued over the greatest line ever written, or shouted a movie quote at exactly the wrong moment, this one is for you.
The podcast is out now on YouTube and also available on Spotify and Apple Podcasts. Hit subscribe or follow — it genuinely helps the show keep growing. Thanks for listening.

This week we are reviewing Sinners, the 2025 supernatural horror drama written and directed by Ryan Coogler, starring Michael B. Jordan in a dual role as twin brothers Smoke and Stack — former Chicago gangsters who return to 1930s Mississippi to open a juke joint and build something of their own.
What starts as a story about hustle, music and community turns into something far darker when uninvited guests arrive after dark.
Hailee Steinfeld, Delroy Lindo and Miles Caton round out a cast that swept the Oscars, the BAFTAs and just about everything else in 2025.
Before the film, the Aussie's 25th wedding anniversary story. Both he and his wife independently booked Book of Mormon on the same night, same theatre. He spent the interval chasing the producers for a refund. He got it.
The Scotsman spent his own Book of Mormon trip plotting revenge after being told to slink down in his seat by a man who turned out to be six foot six. He did not slink.
On the film — and this is the split you came for. The Scotsman loved it. The Aussie did not.
Not slightly didn't love it. Actively hated it. Watched it on a plane with bad wi-fi, spent twenty minutes telling the flight attendant it was not a vampire film, and was still arguing the point when the red eyes appeared on screen. "Thank God that's over" were his final notes. He gives it one out of five.
The Scotsman watched the ending after the credits — which the Aussie missed entirely — then went back and watched half of it again the next day, and came out the other side giving it 4.4 out of five. "We are watching something rare," he says. "Something that good that we don't realise how good it is."
The Aussie's response: "You've lost credibility."
The Scotsman makes the case for the transcendent scene, the IMAX cinematography, the dual-format shooting, the blues record that started the whole thing.
The Aussie makes the case that vampires are stupid, the Lost Boys was also stupid, and that Michael B. Jordan flying through the air in a white singlet was the moment he checked out completely. "It's like Rocky 12 and they roll him out in a wheelchair."
To be fair to the Aussie, he did find things to like. The twin scenes are brilliant. The romantic scene between Smoke and his former lover — "Why don't you just say you don't want me?" — he calls the best scene in the film. The hustle of building the juke joint, the negotiation, the music. All of it lands. Right up until the vampires show up and he loses the will to continue.
The Scotsman's counter — that the vampires are simply a mechanism, a way of asking what would happen if something came for a community that was finally thriving — falls on completely deaf ears. "They shouldn't have used any of it. Just write a story." "That IS the story." Neither man moves an inch.
Rohan Reminisces covers the 2025 Oscars — Anora winning Best Picture, Adrien Brody taking Best Actor, Mikey Madison winning Best Actress. There is also a full rundown of every vampire film made since 1970. The Aussie has not enjoyed a single one of them.
Trivia: $90 to $100 million budget, $370 million gross and rising. Coogler negotiated ownership of the film outright in 2050 — a film about the theft of Black art, owned by its Black creator.
The cinematographer became the first woman in Oscar history to win Best Cinematography.
And finally — Coogler didn't start with a script. He started with a 1961 Howlin' Wolf recording of Wang Dang Diddle, a song about a community throwing a party for one night. He asked: what if those people were real? What if something came for them? Sixteen nominations. There is your answer.
Ratings: 1 out of 5 from the Aussie. 4.4 out of 5 from the Scotsman. Possibly the widest gap in the podcast's history.
The podcast is out now on YouTube and also available on Spotify and Apple Podcasts.
Hit subscribe or follow — it genuinely helps us cut through the noise. Thanks for listening.

This week the lads review the 1987 American romantic drama Dirty Dancing, directed by Emile Ardolino and starring Patrick Swayze and Jennifer Grey. Set in the summer of 1963 at a Catskill Mountains resort, it follows seventeen-year-old Baby Houseman as she falls for the resort's dance instructor Johnny Castle — a story of class, first love, and one of the greatest soundtracks ever committed to film. Before a single frame gets discussed, the episode opens with a bet. The Aussie is convinced the podcast has already covered Schindler's List. The Scotsman is equally convinced it hasn't. A case of beer is staked. A handshake is had. The result is not kind to the Aussie — and the fallout drags on longer than it should. Then comes the Aussie's story. Restaurant grievances. Cash discounts. Early bird specials. A four-minute missed window that escalates into a full debate about the cashless society, merchant fees, and whether a 15-year-old can legally use a credit card. The Scotsman has strong opinions. The Aussie has strong opinions. Nobody wins. On the film itself — the Scotsman is watching Dirty Dancing for the very first time, and his verdict is that it is okay. Enjoyable, but disjointed. Good music. Light on substance. The Aussie, on the other hand, is emotional from the opening scene. The sunnies go on. He is giving full Johnny Castle energy and is not ashamed of it. The Aussie makes the case for the class system running through the film — the Harvard waiters, the staff cabin up the mountain, Patrick Swayze looked down upon while Robbie the doctor gets treated like royalty despite being an absolute prick. The Scotsman concedes the point but is quick to note that none of it is done particularly subtly. They get into the age gap — Baby is seventeen, Johnny is very much not — and what that looks like through a modern lens. The Scotsman takes it somewhere uncomfortable before pulling it back. The Aussie is horrified. The soundtrack gets its moment, and rightly so. Thirty-two million copies sold. Arguably the greatest movie soundtrack ever made alongside Grease, The Bodyguard and Saturday Night Fever. The Aussie plays several tracks live on air and is visibly moved. The Scotsman admits the music is the best part of the whole film. Ratings come in: the Aussie gives it 3.3 out of 5. The Scotsman forgets to rate it but does rate himself and in hindsight gives it a 2/5.
Both agree — it is a feel-good film with a killer soundtrack, but if you are reviewing it honestly, the plot is thin and the writing uneven. *"You can watch it a thousand times and your brain can have a rest,"* says the Aussie. The Scotsman calls that the smartest thing said in two hundred episodes. Trivia rounds things out — the $6 million budget, every studio that passed on it, the final lift being largely unrehearsed, and the deeply sad story of Jennifer Grey and Matthew Broderick's car accident in Northern Ireland just weeks after filming wrapped. One of the great pieces of trivia the podcast has delivered. The episode closes with both hosts attempting to sing. It is not recommended. Out now on YouTube and also available on Spotify and Apple Podcasts. Hit subscribe or follow — it genuinely helps the show keep growing. Thanks for the support.

This week we are reviewing Sophie’s Choice, the 1982 psychological drama directed by Alan J. Pakula and starring Meryl Streep, Kevin Kline and Peter MacNicol.
A young writer moves into a Brooklyn boarding house and becomes entangled with a volatile couple, slowly uncovering a past shaped by Auschwitz and an impossible decision that defines everything that follows.
Before the film even starts, the Scotsman arrives completely unhinged after a 24-hour AI-fuelled spiral, claiming he’s now cloning his voice, building apps, and effectively replacing himself.
The Aussie, sensing blood, immediately questions whether the podcast is about to become “Aussie and ChatGPT.” What follows is one of the most chaotic openings the show’s had — manic energy, tech paranoia, and the Scotsman dangerously close to launching a side business mid-episode.
Once the film discussion begins, things take a sharp turn. The Scotsman goes in hard early, admitting he dreaded watching it, only to completely flip and call it one of the most powerful performances ever put to screen.
The Aussie, on the other hand, never quite shakes the feeling that the first hour drags — a take that immediately puts him on the defensive for the rest of the episode.
The central debate becomes less about the film and more about what sits underneath it. The Scotsman pushes the psychological weight of Sophie’s guilt and why she stays in a destructive relationship, arguing it’s about punishment and self-worth. The Aussie leans more literal, focusing on structure and pacing — and gets absolutely hammered for it.
The biggest moment, unsurprisingly, is the discussion around the choice itself. Both hosts circle the same question from completely different angles: why that child, and what could possibly go through someone’s mind in that moment? There’s no clean answer, and that’s exactly where the conversation lands — uncomfortable, unresolved, and far more intense than either expected.
There’s also a strong clash over Kevin Kline’s performance. The Scotsman reframes what initially looks like overacting into something far more deliberate once the character’s condition is revealed. The Aussie agrees — but not before already writing him off early, which becomes another point of contention.
The ending hits hard. The Scotsman reads it as inevitable — two broken people finding the only peace available to them. The Aussie sees it coming but still lands on the same conclusion: there’s no version of this story that ends well.
Final ratings split the room completely:The Scotsman: 4.7 / 5The Aussie: 3.8 / 5
And that gap turns into one final argument about whether the Aussie is missing the deeper layers entirely.
The podcast is out now on YouTube and also available on Spotify and Apple Podcasts.
Please hit subscribe or follow — it genuinely helps us be seen among the thousands of other podcasts. Thanks for your support.

This week the podcast dives into Sexy Beast, the 2000 black comedy crime film directed by Jonathan Glazer (his feature debut) and written by Louis Mellis and David Scinto.
Starring Ray Winstone, Ben Kingsley, and Ian McShane, it follows retired safecracker Gal Dove, whose peaceful Spanish exile is shattered by the arrival of a terrifyingly unhinged gangster demanding one last job in London.
The Scotsman loves this one. The dialogue is razor sharp, and he’s fully in his Cockney element. The Aussie doesn’t stand a chance.
There’s a Cockney quiz. There’s a dramatic reading of the film’s dialogue. There’s a running tally of how many times the Scotsman, channeling Ben Kingsley, calls the Aussie “his chubby little friend.” It’s relentless.
The return of the fruit platter — because they watched it together — becomes comedy gold in itself. The Aussie makes the bold claim that the Scotsman has never stepped foot inside Subway. Tensions rise.
Chas & Dave’s Snooker Loopy gets airtime. Any mention of snooker means Jeremy appears again. Singing follows. Naturally.
Cockney rhyming slang flies around: “trouble and strife,” “dog and bone,” “Barnet Fair,” “butcher’s hook,” and “Adam and Eve” all make their way into full sentences.
The Scotsman draws links to the unseen menace in Jaws and Duel, and even the word “Don” sends the studio into hysterics.
They discuss the film’s Foley artistry, indulge in a bit of scene acting, and revel in just how controlled and theatrical Kingsley’s performance is.
A trivia nugget surfaces: Ben Kingsley won the 1985 Grammy Award for Best Spoken Word Album for The Words of Gandhi, following his Oscar-winning role in Gandhi. A fact delivered with surprising reverence before things descend again.
Rohan Reminisces? Chaos. He chooses 2002 instead of 2000. Basic calendar error. He recovers slightly by discussing the hottest day of the year but still manages what might be the biggest faux pas of the season. A generous 7/10 this week.
If you have to rent this film, it’s worth every cent. The dialogue alone is admission price.
The podcast is available now on YouTube, Spotify and Apple Podcasts.Subscribe or follow — it helps the show get seen.
Thanks for listening.