Pete and Hannah Mitchell
500 episodes
Movie picks, history, news, and sparring.
Pete and Hannah’s Watchlist is a fast, conversational film show built around what to watch next, what to skip, and why. Pete Mitchell and Hannah bounce between current releases, classic-film history, movie news, movie-year context, and recurring games without sanding off their disagreements.
Pete and Hannah’s Watchlist is a movie discovery show with the texture of an ongoing argument between two film people who still like hearing each other out. Pete Mitchell and Hannah move quickly. They cover what is opening, what is streaming, what is worth seeing, and what probably deserves a miss. The recurring “What’s Next” episodes are the practical center, giving listeners a read on current films such as You, Me and Tuscany, Undertone, The Deb, Super Mario Galaxy, The Drama, I Swear, and Magic Faraway Tree. Those reviews are not polished monologues. They are back-and-forth conversations built from elevator pitches, reasons to see, reasons not to see, ratings, and sudden disagreement over whether a movie works for ordinary viewers. The news episodes widen the frame. Pete and Hannah talk through clickbait headlines, movie-news reveals, Spider-Man updates, horror previews, streaming calendars, and the way phones, social media, and modern habits complicate old rom-com tropes. The classic-film side gives the show more weight. In AFI Redux, Fantasia becomes a way to talk about Disney, creative risk, studio control, music, animation, and why some older experiments still feel strange. In the Movie Championship Belt Holder episodes, a single year becomes a whole entertainment snapshot, with hit songs, television, notable births and deaths, business trends, and a ranked field of films. Then the show can flip into pure play. The Blockbuster game and movie-quote memory rounds are messy, competitive, and deliberately silly, with scores, repeated lines, and corrections becoming part of the charm. The tone is warm, but it is not soft. Bad films get called bad. Good craft gets real enthusiasm. The pair are especially good when their tastes split, because the recommendation has to survive a small debate instead of arriving as a verdict from above. Australian release timing and streaming availability often shape the conversation, which gives the show a grounded weekly usefulness. It is movie chatter with homework behind it, casual enough for a commute and detailed enough for people who like credits, studios, release dates, and old Hollywood context.
Made for: For film fans who want current recommendations, classic-film context, and casual debate without critic-journal distance. It especially suits listeners who enjoy release calendars, streaming notes, movie games, and blunt conversations about what is worth the time.
What sets it apart: The show mixes practical watch-next advice with classic-film research, industry headlines, and competitive movie games in the same conversational feed. Its strongest feature is the Pete Mitchell and Hannah contrast: quick agreement, quick correction, and useful disagreement before the recommendation lands.
Hannah and Pete help people find something to watch
Based on 6 episodes we listened to · August 2026
Pete and Hannah's Watchlist turns classic-film lists into sharp, conversational arguments about performance, awards, taste, and ranking value.
Pete and Hannah's Watchlist works best as a movie-club show with a scorecard nearby. Pete Mitchell and Hannah use AFI projects, Top 100 entries, and movie-year matchups to turn familiar TV & Film territory into a running argument about taste, canon, and what a ranking can…
You get AFI homework with people willing to call A Clockwork Orange a date-night red flag.
Press play if you want
Short reviews from the PlayNext desk, based on the episodes we processed.
A breezy film chat that turns Stagecoach into a bigger argument about 1939.
Pete and Hannah use Stagecoach as a springboard for a wider look at 1939, and that gives the conversation its shape. They move smoothly from cast chemistry to music, then out toward Gone With The Wind and Wizard of Oz, so the episode feels less like a formal breakdown and more…
A spirited Spielberg rerank with plenty of context and no fake consensus.
Pete and Hannah frame Close Encounters of the Third Kind through another AFI Redux pass, and the discussion finds its shape quickly in the split between list-making and disagreement.
A lively classic-film debate that keeps circling the chemistry problem at the center of the movie.
Pete and Hannah frame An American in Paris around dance partnership, star power, and the strain that shows up when one performer dominates a duet that needs balance.
A spirited Giant debate that keeps one eye on the romance and the other on the film's larger argument.
Pete and Hannah treat Giant as a lively AFI Redux argument for why the film still earns its place in that conversation. They move through the love story, the racism beneath the polished surface, the oil-and-family-business machinery, and Leslie as more than a love-triangle piece…
A blunt, uneasy revisit to a movie that still provokes strong reactions.
Pete and Hannah revisit A Clockwork Orange on AFI Top 100 10-Year Revisited, and the mix of Pete's familiarity with Hannah's first viewing gives the episode its edge.
Mike Muncer and a different guest dissect two horror films per episode, by subgenre.
The hosts discuss their Movie Championship Belt Holder for 1964, reviewing top films of that year while also recapping recent movie news and reviews from their channel.
Pete and Hannah discuss movie news including Cinecom updates, Sony CEO Tom Rothman's opinions on reducing commercials in theaters, and previews of Clickbait and The Mummy.
Hosts Pete and Hannah discuss the 1940 Disney animated classic Fantasia in their AFI Redux series, sharing personal viewing experiences and basic film details.
Pete and Hannah discuss movie recommendations including Tuscany, Undertone, and The Dip, while sharing personal viewing experiences like Mike, Nick, and Alice.
Hosts Pete and Hannah play a Blockbuster game involving movie quotes and discuss recent and upcoming movie reviews and news on their show.
Pete and Hannah discuss movie news, a new rom-com, and share their hot takes on the state of the genre.
Pete and Hannah help listeners find something to watch by reviewing Super Mario Galaxy and a drama.
Pete and Hannah discuss what to watch and miss in March, previewing upcoming releases.
Pete and Hannah review the classic film Rebel Without a Cause as part of their AFI Redux series.
Pete and Hannah discuss new movies and shows to help listeners decide what to watch next.
Pete and Hannah count down their top five favorite movies of all time, recap the week's content, and discuss new trailers and news.
Hannah takes the hot-take chair, and Pete nudges her straight into clickbait mode.
Stagecoach gets the AFI Redux treatment.
Pete and Hannah help listeners find what to watch next, discussing new releases and recommendations.
Pete and Hannah discuss movies from 1965, including major events of the year and their personal favorites.
Oscar talk is finally done.
AFI Redux takes on Close Encounters.
Academy Awards 98th gets the loose table treatment, with Pete and Hannah kicking around Conan O'Brien's ceremony, the memorial bits, and why film people remembering film people can be oddly satisfying.
Hosts Pete and Hannah introduce their podcast episode featuring a Blockbuster game and memory challenge while recapping their week of movie reviews and Academy Awards predictions.
Pete and Hannah discuss the 1962 film The Manchurian Candidate for their AFI Redux series, providing background and analysis.
The Bride grabs Pete fast.
Movie news turns into awards-card sparring.
Gene Kelly takes over the frame.
Countdown means top five.
Amanda Siegfried is the big reason.
Best Supporting turns into a proper argument.
Pete and Hannah discuss the movie Dances with Wolves as part of their AFI Redox series, noting its unavailability on streaming services in Australia and sharing basic production details.
What's Next opens loose.
Hannah is still crook.
Pete and Hannah discuss the classic film 'The Natural' as a tribute to its late stars, analyzing its place on AFI lists and providing viewing recommendations.
1966 gets a rough welcome.
Wuthering Heights gets the storm treatment.
The hosts play the Blockbuster game focusing on movies with a wedding theme, while also discussing recent film reviews including Wuthering Heights and other shows.
Pete and Hannah discuss the 1939 film Wuthering Heights as part of their AFI Redux series, comparing it to other adaptations and its cultural impact.
Pete and Hannah try Viewer's Choice.
Movie news gets messy fast.
AFI Redux reaches number 82, and Pete and Hannah wrestle with The Giant.
Pete and Hannah discuss recent movie releases and help listeners decide what to watch next, covering films like Iron Lung, Blue Moon, and Wrecking Crew.
Countdown means list mode.
Pete and Hannah recap Oscar-nominated films, preview upcoming movies, and discuss latest movie news.
Pete and Hannah revisit the 1996 film Fargo as part of their AFI Redux series, discussing its plot, characters, and where to watch it.
Pete and Hannah discuss what they've been watching and help listeners find their next show or movie.
Pete and Hannah discuss the latest Oscar nominations and dive into the best movies of 1967.
Pete and Hannah preview the 2026 box office draft, discuss the movie Mercy starring Chris Pratt and Rebecca Ferguson, and touch on Oscar nominations and trends in cinema.
The hosts discuss the 1935 film 'Mutiny on the Bounty' starring Charles Lawton and Clark Gable as part of their AFI Redux series, covering its plot, availability on streaming services, and related research.
Pete and Hannah discuss new movie and TV releases, including Netflix's The Rip and Hamnet, and recommend what to watch next.
Hannah and Pete interrupt their regular show to recap The Last of Us Season 2 Episode 5.
Pete Mitchell and Hannah review Stanley Kubrick's A Clockwork Orange (#70 on the AFI Top 100), covering the film's surprising commercial performance of $114 million in 1971, mixed original reviews from Roger Ebert and Pauline Kael, and a scene-by-scene breakdown of its three-act structure.