Aussie and the Scotsman - Unfiltered Movie Podcast

Two mates. Two accents. Zero filter.You couldn’t find two more different people — from opposite sides of the world, with completely different takes on what’s entertaining, what’s serious, and what’s downright ridiculous.Rohan (the Aussie) loves his rom-coms. Rob (the Scotsman) swears by his action flicks. Together they deep-dive into one film each week — unpacking the themes, cast, controversies, and behind-the-scenes chaos — all with plenty of laughs and the occasional argument.Sometimes they agree. Often they don’t. But that’s half the fun.New episodes drop every Saturday. Also on YouTubeIt’s movies, mateship, and mayhem — Aussie and the Scotsman style.

Aussie and the Scotsman - Unfiltered Movie Podcast is a tv podcast hosted by Aussie and the Scotsman, with 243 episodes on record and a Required Pod Score of 80.

Aussie and the Scotsman hosts Aussie and the Scotsman - Unfiltered Movie Podcast, a tv show with 243 episodes published.

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  Episode #49

  The Great Escape

  Oct 2, 202650 minS3

  This week we are reviewing The Great Escape, the 1963 epic war classic adventure directed by John Sturges and starring Steve McQueen, James Garner, Richard Attenborough, Charles Bronson, Donald Pleasance and James Coburn. Allied prisoners of war held in a supposedly escape-proof German camp plot an audacious mass breakout, only for the adventure to give way to something much darker, and much more human. This episode starts in typical fashion — with the Scotsman and the Aussie nearly derailing the show before the review even begins. There’s an argument about whether the iconic theme should have opened the episode, a very funny early wobble over connecting The Great Escape to other films, and then a pre-film chat that goes gloriously off-road. And it is worth hearing. There’s a terrific stretch on customer service, a late-night hunger confession involving two emergency sandwiches at 2am, a McDonald’s story that becomes a full monologue, a debate about wasting time, work travel, sales personalities, working from home, and an unexpected detour into whether an eye twitch might be a stroke. It sounds absurd written down. It’s even better in the episode. Then the film discussion lands — and it lands well. This is not a dry classic-film review. It’s a lively argument over tone, realism, whether the first half feels too playful for a Nazi prison camp, whether the second half is superior, whether the music is overused, whether Steve McQueen’s motorcycle sequence is remembered correctly, and whether Shawshank Redemption owes a bigger debt to this film than people admit. There’s strong discussion around the cast, especially McQueen, Bronson, Pleasance and Attenborough, and a really good exchange about why the film works despite juggling so many characters. The Scotsman makes a sharp case that you become invested in eight different men remarkably quickly. The Aussie pushes back on parts of the tone, but ends up admiring the emotional turn once the escape begins. There’s a great clash over realism in the camp. There’s a sharp debate over whether the Germans are too lightly drawn early on. There’s a terrific exchange over whether the three tunnels logic really holds. And there’s a very good argument about whether the final motorcycle jump is remembered more powerfully than it actually plays. There are also some unexpectedly funny moments in the middle of the review, including the two hosts acting out scenes from the film. That could have gone badly. It doesn’t. It’s one of the funniest sections in the episode. And then the episode lifts again. Rohan Reminisces may be the strongest version of the segment yet. It nearly gets forgotten entirely, then comes roaring back with a rapid-fire run of 1963 trivia, some very funny wrong turns, accusations of cheating, and a couple of moments where the Scotsman unexpectedly starts landing answers. But the key point: the segment is teased, not spoiled. The specific answers and reveals are left for the episode. Without spoiling the film trivia section, stay for the Steve McQueen revelations, the astonishing Charles Bronson story, the Donald Pleasance real-life POW connection, and the detail about a cast member boldly telling another he intended to marry his wife. Yes, that really happened. This is one of those conversations that works whether you know the film well or haven’t seen it in years. It makes you want to revisit the movie. The podcast is out now on YouTube and also available on Spotify and Apple Podcasts. Hit subscribe or follow if you enjoy classic film debates like this — it genuinely helps the show keep growing. Thanks for listening.

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  Episode #48

  Here (2024)

  Sep 25, 202643 minS3

  This week we are reviewing Here, the 2024 drama directed by Robert Zemeckis — the man behind Forrest Gump, Back to the Future and Cast Away — starring Tom Hanks and Robin Wright, reuniting thirty years after Forrest Gump. The camera never moves. Not once. For the entire 104 minutes, we watch a single corner of a room in New Jersey across thousands of years of human history — dinosaurs, Ice Age, Benjamin Franklin, a 1960s African American family, and a couple whose entire shared life plays out in that one fixed space. It is one of the boldest formal experiments in mainstream cinema in years. The Aussie thinks it is the worst film ever put on this podcast. Worse than Duel. That is where we begin. The episode opens with dad jokes. The Scotsman has a list. He works through them methodically. The one about the librarian is not suitable for children or mothers-in-law. The Aussie counters with his one joke — the same one he has been using in sales presentations for twenty years. It lands. Barely. The Scotsman snickers. We move on. Then Here. The Aussie is furious before the discussion even properly starts. "I've never been so bored." "I would watch Duel before this again." "Zemeckis, Robin Wright and Tom Hanks should be embarrassed." Zero out of five. The first zero in the podcast's history. The Scotsman enjoyed it — or at least found something real in it — and spends a significant portion of the episode trying to explain what the film is actually about while the Aussie systematically dismantles every argument. The question the Scotsman poses is genuinely moving. What happens to all the moments nobody filmed, nobody clapped for, nobody remembered — the quiet ordinary ones — if nobody is left to remember them? The Aussie's answer: you write a diary. That is not a film. The Scotsman's counter: this film is the diary. The room is the diary. They go deep. The Scotsman asks the Aussie about the main room of the house he grew up in — the tiger couch, Carlton replays on a Friday night, his dad, his mum, his brother and sister, the whole architecture of a childhood. "Magnificent memories," the Aussie says. And the Scotsman quietly says: that room is what this movie is about. The Aussie pauses. Then finds another hole in it. He is not wrong about the holes. Tom Hanks gets a fairly rough ride from the Scotsman, which nobody saw coming. "Acting arrogance" is the phrase used. The AI de-ageing technology gets genuine credit — the most convincing yet achieved in mainstream cinema, developed specifically for this film, operating in real time on set rather than in post-production. The comparison to The Irishman is not flattering for Scorsese. The box office numbers land like a verdict. Fifty million spent. Sixteen million made. One of the biggest disappointments of 2024. The Aussie has never been more satisfied by a piece of trivia. Rohan Reminisces covers 2024 — Oppenheimer, Emma Stone, Ray Gun at the Paris Olympics, the Brisbane Lions, JLo and Ben, and a mahjong subplot involving the Aussie's wife that the Scotsman refuses to let go of. It spirals in directions nobody planned. Ratings: 0 out of 5 from the Aussie. 2.7 from the Scotsman. The gap tells you everything. 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.

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  Episode #47

  The Big Lebowski

  Sep 18, 202642 minS3

  This week we are reviewing The Big Lebowski, the 1998 comedy directed by Joel and Ethan Coen and starring Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, Philip Seymour Hoffman, Tara Reid, John Turturro and Sam Elliott. An unemployed LA slacker known only as the Dude gets mistaken for a millionaire of the same name, has his rug urinated on, and is dragged into a kidnapping plot he wants absolutely no part of. The podcast is out now on YouTube and also available on Spotify and Apple Podcasts. If you know someone who has been putting this one off for 28 years, send them this episode. Hit subscribe or follow — it really does help us keep going. Before the film, the Aussie arrives with a story about getting locked out of his Tesla because his phone died and being told by a man at a charging kiosk that it was $40 for the privilege — delivered so matter-of-factly he could not even get worked up about it. The Scotsman tops it with a story about a close friend who texted mid-tattoo to ask whether he should get the word grateful on his wrist, was told nope definitely not in no uncertain terms, and did it anyway. The Scotsman had never seen it. His entire expectation was a stoner film full of slow talking and not much else. He loved it. Watched it twice. Came in genuinely enthusiastic, started the podcast in a state of near euphoria, and then — about halfway through — talked himself back down to earth and landed somewhere a bit flatter than he expected. He is slightly annoyed at himself about this. The Aussie, who brought it to the show and had seen it many times as a younger man, is so relieved there is no fight that he almost cries. The film discussion covers all the key scenes — the rug, the bowling alley, the Big Lebowski's portrait monologue, the millionaire's daughter, the nihilists, and the funeral. The Aussie makes the case that "I don't roll on Shabbos" is the best line in the film and delivers it multiple times on air with enormous personal satisfaction. The Scotsman agrees the bowling alley scene is where the entire dynamic of the trio is established in a single sitting — the Dude reacting, Walter escalating, and Donnie being ignored — and that it is one of the most efficient pieces of character writing he has seen. John Turturro's Jesus Quintana gets his full moment. One scene, almost no plot relevance, steals the entire film. Both hosts agree the casting across the board is close to perfect and that you cannot imagine anybody else in any of these roles. There is also a debate about whether this film sits closer to Fargo or Pulp Fiction, a comparison between John Goodman here and his role in Flight, and the Scotsman running out of steam mid-episode and admitting it on air. In Rohan Reminisces, the hosts cover 1998 — Titanic winning Best Picture, Nicholson doing his OCD steps on camera, Matt Damon and Ben Affleck picking up their first Oscar, Google being founded, the Apple iMac G3, Bill Clinton and the dress, France winning the World Cup, Michael Jordan's last dance, and Frank Sinatra dying. The Scotsman has now covered 1998 so many times he calls for a format change. The Aussie takes mild offence. The trivia covers the budget, the underwhelming box office run, the real-life Dude who inspired the character and still shows up at fan events today, Jeff Bridges wearing his own clothes throughout, John Turturro building the Jesus Quintana character entirely himself with no script, and Lebowski Fest — a touring fan convention running since 2002. The film was selected for preservation in the United States National Film Registry in 2014. The Aussie lands at 3.6. The Scotsman comes in at 3.5. A rare episode where the scores are almost identical and nobody is yelling at anyone. The Scotsman signs off going to have a White Russian. Both hosts immediately realise they should have been drinking White Russians throughout.

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  Episode #46

  Fury (2014)

  Sep 18, 202653 minS3

  This week we are reviewing Fury, the 2014 World War II combat film written and directed by David Ayer — the man behind Training Day and End of Watch — starring Brad Pitt as the battle-hardened tank commander Don "Wardaddy" Collier, alongside Shia LaBeouf, Logan Lerman, Michael Pena and Jon Bernthal. April 1945. Five men. One Sherman tank. Three hundred SS soldiers at the crossroads. This is not a film about glory. It is a film about what war costs. Before the film, the Scotsman wants gravitas. The Aussie does a wrestling announcement. Then two customer service stories — one so infuriating it nearly ends in a formal complaint, one so good it nearly ends in a marriage proposal to a man called John. You will know which is which within ten seconds. On the film itself — the Scotsman loved it. The Aussie did not. "It's Saving Private Ryan in a tank," says the Scotsman. "That's an insult to Saving Private Ryan," says the Aussie. And from there it only escalates. The Aussie thinks the glowing bullets look like Star Wars. The Scotsman informs him, with barely concealed fury, that tracer bullets are real, have existed for over a century, and are common knowledge to anyone with even a passing interest in military history. The Aussie had no idea. He is not quite embarrassed enough to back down. The dinner scene in the bombed German apartment divides them completely. The Aussie calls it a rushed love story. The Scotsman calls it the most human moment in the film. Neither will concede. The argument about whether Brad Pitt was a good leader or a man who walked five people into a suicide mission goes for longer than it should and gets genuinely heated. The one thing they agree on — and they do agree, eventually, reluctantly — is Pitt standing on top of the tank, absorbing fourteen thousand bullets, holding a conversation, while three hundred SS soldiers politely queue directly in front of him and apparently nobody thinks to go around the back. Even the Scotsman calls it. "Hollywood stupid." Coming from the man defending the film, that is saying something. Jon Bernthal is singled out as the standout performance. Shia LaBeouf gets credit where credit is due, and the Aussie admits the casting was not the problem — it was everything else. The bond between the crew, the claustrophobia of the tank, the way the film makes you feel the weight of what these men are carrying — all of it lands. The ending, however, does not. At least not for the Aussie. Rohan Reminisces goes deep into 2014 — and this week it is actually worth listening to. Real emotion, some genuinely shocking moments, and one answer from the Scotsman so wrong it causes actual pain. Trivia closes the episode and it is one of the best of the year. Do not skip the end. Ratings: 3.4 from the Aussie, 4 out of 5 from the Scotsman. The Aussie picks next. The Scotsman is already worried. 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.

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  Episode #45

  The Best first 30 minutes of a movie

  Sep 11, 202628 minS3

  This week we are reviewing the idea of the best first 30 minutes in film, a wide-ranging movie debate special built around opening scenes, opening acts and the moments that grab you by the throat before a film has even settled in. From war epics and thrillers to blockbusters and classics, the Scotsman and the Aussie go head-to-head over which films do the heavy lifting early and why some movies can almost live off their opening half hour alone. This episode starts in chaos, which is part of the fun. What begins as a simple idea — best first 30 minutes in movies — immediately turns into an argument over what the topic even means. Is it the best opening act? Best opening scene? Best first half hour in strict terms? The Scotsman calls it a shambles almost immediately, and from there the episode becomes one of those loose, unpredictable conversations where the detours become half the entertainment. The pre-film chat alone is worth hearing. There’s a very funny and strangely relatable debate about people who overuse “sorry” and “thank you,” a pharmacy story that spirals into an unexpected misunderstanding, a comparison to Anger Management, and a running argument about sarcasm, tone and whether either host is actually funny. Some of the sharpest laughs in the episode land before the movie talk even properly starts. Then the film debate kicks in and the range is enormous. There are passionate cases made for Heat, Pulp Fiction, Jaws, Raiders of the Lost Ark, Saving Private Ryan, Apocalypse Now, The Shining, Goodfellas, The Silence of the Lambs, Rocky II, Top Gun, Back to the Future, Inglourious Basterds, Superman, Cast Away, Flight, Seven, Point Break and more. It’s one of those episodes where one title sparks another, then another, and suddenly you’re mentally rewriting your own top ten. There are real debates here, not polite agreement. The Scotsman pushes structure, mood and tension. The Aussie pushes payoff, set-up and series-building. They clash over whether a great opening has to sustain the whole film, whether a single scene can justify inclusion, whether chat-generated lists ruin spontaneity, and whether one of them may or may not be getting lazy. Some of the funniest exchanges come from the argument over whether one host has secretly outsourced his taste to the internet. The pushback is constant. There’s also a genuinely strong thread about what openings actually do. Are they about dread? Adrenaline? Character? World-building? Hooks? There’s a great stretch on why Raiders still works, why Jaws withholds brilliantly, why Saving Private Ryan changed war films, why Heat feels almost documentary-like, and why even a film one host dislikes might still have an extraordinary opening. That tension makes the discussion much better than a standard ranked list. There are also several moments that feel like future episodes being born in real time. A possible whole episode built around just talking movies from memory. A walk down memory lane concept. A possible revisit of old episodes. Those loose moments feel like listeners are hearing the show being invented as it happens. And then there are the quotes. Several are instantly classic. This was a nightmare. This was horrible. lands early. I don’t live within the lines, mate. I’m a free spirit. becomes a running joke. Give me the terms and conditions. becomes its own comic callback. And there’s a brutal line about sarcasm and being unfunny that nearly derails the whole thing. Without giving anything away, Rohan Reminisces gets turned on its head this week in a way listeners will hear coming only if they catch a late twist in the episode. The trivia and film references teased throughout are also worth staying for, particularly if you enjoy obscure continuity details, sequel set-ups and the kind of movie memory only long-time obsessives tend to carry around. If you love movie arguments, if you’ve ever said “that film had me from the first scene,” or if you’ve ever defended an opening sequence as better than some whole movies, this one is for you. It’s messy, funny, argumentative and full of big titles. The podcast is out now on YouTube and also available on Spotify and Apple Podcasts. Subscribe or follow if you enjoy these film debates — it genuinely helps the show keep growing, and it helps more movie lovers find it. Thanks for listening.

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