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HUGTOBER kicks off with one of the strangest, creepiest, and most unexpectedly chaotic sequels of the 1980s: Poltergeist II: The Other Side.

This week, Rob and Liam dive into the return of the Freeling family, the cosmic weirdness of the “Other Side,” and the film’s biggest weapon — Reverend Henry Kane, whose calm, skeletal presence instantly elevates the entire movie. Every time he appears, the tone shifts from suburban ghost story to full‑blown nightmare.

We break down:

• Kane’s unnervingly calm performance
• The surreal, jarring emotional flashback
• Giger’s grotesque creature design
• The Freelings’ ongoing supernatural misery
• Taylor’s mystical smoke ritual and spiritual logic
• The sequel’s wild tonal swings and 80s weirdness
• Why the film feels like two different movies stitched together

Plus: Rob and Liam unpack the creature effects, the emotional beats that come out of nowhere, the bizarre pacing, and how Poltergeist II manages to be creepy, chaotic, and unintentionally hilarious — often at the same time.

HUGTOBER is officially underway, and we’re starting with a sequel that’s equal parts spooky, surreal, and wonderfully odd.

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Brad Dourif is feral, the robot dog is clunky, and the corridors are very wet — which can only mean one thing: we’re diving into Death Machine (1994).

Rob and Liam revisit Stephen Norrington’s pre‑Blade cyberpunk oddity, a film Rob adored at age 10… and is now deeply questioning in 2026. From the aggressively grimy 90s aesthetic to the War Beast that moves like a shopping trolley with a wonky wheel, this one is a relic of a very specific VHS era — charming to some, exhausting to others.

We get into:
• The War Beast looking like it’s trying not to fall over
• Brad Dourif behaving like a gremlin denied dessert
• The wild pop‑culture character names (Weyland! Yutani! Scott Ridley!)
• The tonal whiplash, the dripping corridors, and the baffling emotional cutaways
• Why this film has four different cuts, none of which fix Dante’s hair
• Whether Death Machine actually has a cult following… or just a cool VHS cover

Plus: Rachel Weisz’s eyebrow piercing, eco‑warriors with no cause, and the eternal question — why name your movie Death Machine when the machine is called Warbeast?

It’s messy, loud, weirdly ambitious, and absolutely drenched in blue lighting. Join us as we unpack one of the most 90s‑80s movies ever made.

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This week on the Hey You Guys Podcast, Liam, Rob and special guest Dave revisit JJ Abrams’ Star Trek — a film that somehow pulls off the impossible. Part prequel, part reboot, part alternate‑timeline legacy sequel, it’s a movie that shouldn’t work… yet absolutely does.

The guys dig into how Abrams threads the needle between honouring decades of Trek lore and delivering a fast, fun, blockbuster‑style reinvention for newcomers. They debate the film’s breakneck pacing, its “too fast, too furious… in space” energy, and whether the emotional beats still land. There’s praise for the pitch‑perfect casting, side‑eye for the lens‑flare‑heavy Apple Store aesthetic, and a full breakdown of why Nero might be one of Trek’s most underwritten villains despite Eric Bana’s great performance.

They also get into the big swings: destroying Vulcan, reworking Spock’s backstory, giving every legacy character their own moment, and the surprisingly divisive introduction of young James T. Kirk — including whether stealing his stepdad’s classic car is the coolest character intro ever.

Expect arguments about Chekhov’s accent, Scotty’s comedy detour, Bones’ homage‑heavy performance, and how this film compares to Trek’s top five movies. Plus: nostalgia, chaos, and a whole lot of lens flare.

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This week Rob and Liam dive into Disney’s gloriously chaotic 90s swashbuckler The Three Musketeers — a film packed with mullets, moustaches, pantomime villainy and some of the most joyful sword‑fighting ever put on screen.

We get into Oliver Platt having the time of his life, Tim Curry chewing scenery like he’s auditioning for Evil Santa, and the palace map room with a giant secret door that absolutely no one notices. Rob also revisits his childhood belief that D’Artagnan was called “Dogtanian,” questions whether anyone ever freed the dungeon prisoners, and tries to understand where the Musketeers keep getting spare swords from.

There’s love for Michael Wincott’s gravel‑voiced menace — from The Three Musketeers to The Crow, Alien Resurrection, and Metro — and a look at why he deserved a much bigger career. Plus: the Bryan Adams/Sting/Rod Stewart power‑ballad that has no business being as good as it is for this film.

All for one… and one for all.

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This week, Liam takes us through Timecop, the 90s sci‑fi action flick where Jean‑Claude Van Damme roundhouse‑kicks his way through time, corruption, and some truly baffling filmmaking choices. We dig into the infamous “satisfy a woman” line — a moment so gross the movie somehow uses it twice — and the henchman’s taser that behaves less like a weapon and more like a handheld thunderstorm.

Rob questions the architectural fever dream of having a breaker box on the middle floor of a house, and we get into the film’s obsession with mullets — including Van Damme’s heroic wig and the henchman’s glorious natural mane. And of course, we tackle the rocket‑powered sled that launches agents at a wall to send them through time. No sled in the past, no debris, no explanation… just pure 90s confidence.

It’s Timecop: a film that starts with tension and promise, then swerves into mullets, madness, and some of the strangest time‑travel mechanics ever put on screen.

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This week, we wade into the oil‑soaked, explosion‑heavy world of On Deadly Ground — Steven Seagal’s one and only attempt at directing, and arguably the most sincere environmental PSA ever delivered through roundhouse kicks. We break down Forrest Taft’s journey from elite firefighter to eco‑warrior, the cartoonishly evil oil baron played by Michael Caine, and the film’s belief that the best way to save the planet is… to blow up absolutely everything.

We talk about the Alaskan setting, the corrupt Aegis Oil operation cutting corners with faulty equipment, and the chain of disasters that push Taft into full spiritual‑warrior mode after a vision quest with the Yupik tribe. From bar‑fight philosophy lessons to Seagal’s trademark “I will fix the world myself” energy, we unpack why this film is both a mess and a masterpiece of 90s action excess.

Join us as we revisit the explosions, the speeches, the environmental messaging delivered with the subtlety of a burning oil rig, and ask the big question: is On Deadly Ground the most unintentionally hilarious eco‑thriller ever made?

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In this episode, we dive back into the digital trenches with The Matrix Reloaded, a sequel that cranks up the action, the philosophy, and — occasionally — the confusion. We break down Neo’s escalating powers, Zion’s questionable rave priorities, and why the Merovingian’s mansion fight still absolutely slaps.

We talk about how the film leans hard into style over substance, how the CGI hasn’t aged as gracefully as the leather coats, and why the freeway chase — iconic as it is — goes on long enough to qualify as its own trilogy. From rogue programs to rubber‑man Neo, we unpack what works, what doesn’t, and why Reloaded remains one of the most ambitious (and divisive) sequels of the 2000s.

Plug in, dodge some Agents, and join us as we try to make sense of the most gloriously convoluted blockbuster ever made.

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Episode 278 of the Hey You Guys Podcast is here, and this week, Liam and Rob look back at 1984's, The Last Starfighter. One of the decade's finest sci-fi adventures? A great concept ultimately let down by a handful of suspect performances? Somewhere in between? One thing we can all agree on though is that Catherine Mary Stewart might be the ultimate ride or die girlfriend as the infinitely likeable, Maggie Gordon. Listen in via your podcast platform of choice to see if this beloved sci-fi classic has stood the test of time.