Published by Movie Podcast
Your new favourite transatlantic film review podcast, trawling through the blockbusters and critical darlings in search of the best film ever.
Listen on Apple PodcastsYou know we love our wrestling here at the BFE—or, at least, some of us do. Join Ian from Best Film Ever and JDG as we once again break the traditional BFE format to review all two nights of WWE SummerSlam 2026. Did CM Punk and Cody Rhodes deliver in their battle for the Undisputed WWE Championship? Was Roman Reigns versus Seth Rollins a worthy main event—or have we seen these two fight one time too many? Did Oba Femi finally cement himself as WWE’s next great monster by stepping inside Hell in a Cell with Brock Lesnar, and was this really the end of the road for The Beast? Ian and JDG also discuss whether Liv Morgan and IYO SKY lived up to expectations, the chaotic Interim Women’s Championship ladder match, Kevin Owens’ big return, and the increasingly bizarre world in which Danhausen is competing in a “Human Monies on a Pole” match at one of WWE’s biggest shows of the year. Which matches stole the weekend? Which results left us scratching our heads? Did SummerSlam justify being stretched across two nights—and, most importantly, was it actually the biggest party of the summer? All this and more as BFE swaps cinema for suplexes and breaks down WWE SummerSlam 2026.
“Kmart sucks.” Join Ian, Liam & Megs for our 342nd episode as we hit the road for Ian's Patreon pick, Barry Levinson's Oscar-winning classic Rain Man (1988). It's a journey across America filled with family wounds, unexpected connection, and one of the most celebrated performances in cinema history. Kev isn't with us this week—he insisted Raymond was right about Kmart underwear and is currently somewhere in the American Midwest refusing to buy a different brand. This week we discuss: Dustin Hoffman's Oscar-winning performance — groundbreaking, influential, and endlessly imitated. How well has Raymond Babbitt's portrayal of autism stood the test of time? Tom Cruise before he became Tom Cruise — is Charlie Babbitt one of the strongest dramatic performances of his career, and does his character truly earn the emotional destination the film arrives at? Ian makes the case for a brilliant screenplay — from inherited trauma and forgiveness to what it means to truly communicate and how do we compartmentalise intimacy - we explore why every major theme reinforces another in one of the tightest character scripts we've reviewed. The road movie structure — why does Rain Man work because Raymond doesn't fundamentally change... Charlie does? The elevator scene — one of the film's sweetest moments or one of its most complicated? We unpack how differently that sequence plays in 2026 and whether it's an affirmation of Raymond's humanity, a thoughtful act of kindness, or something more ethically complex. Las Vegas — does the casino sequence undercut Charlie's character development by rewarding the very instincts he's supposed to be leaving behind, or is it a necessary step in his transformation? Liam explores the brothers' relationship — does the film ultimately become less about autism than about learning to see another person on their terms rather than your own? Megs examines the film's emotional honesty — sentimentality, manipulation, and whether Rain Man earns every emotional beat it asks of its audience. The "show versus tell" balance — how much does the film trust Hoffman's performance to communicate Raymond's world without resorting to unnecessary exposition? The supporting cast — particularly Susanna. Is she underwritten, or does she quietly become the emotional bridge between Charlie and Raymond? The ending — understated, bittersweet, and refreshingly restrained. Could there have been any other conclusion that stayed true to these characters? And finally, whether Rain Man is the Best Film Ever — or one of the finest character-driven dramas ever put to film. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE
It’s another edition of See It or Skip It, and this time Ian is joined by JDG as they set sail, face monsters, tempt fate, and begin the long journey home with Christopher Nolan’s The Odyssey. But does The Odyssey turn one of the oldest stories ever told into a genuinely thrilling cinematic epic, or does the weight of history, mythology, and expectation prove too much to carry? Ian and JDG unpack whether Nolan delivers a voyage worthy of Homer’s legendary poem — or gets lost somewhere between spectacle and self-importance. Is the humanity still there beneath the gods, monsters, and enormous set pieces? Does Odysseus feel like a compelling hero, a deeply flawed survivor, or simply another emotionally distant Nolan protagonist? The pair dig into the performances, the film’s visual ambition, and whether its themes of loyalty, pride, temptation, identity, and homecoming still resonate thousands of years later. Can a story this ancient still surprise a modern audience? Does Nolan find something new within the myth, or is The Odyssey more impressive as a technical achievement than an emotional experience? All this and more in this week’s See It or Skip It review of The Odyssey — and, of course, Ian and JDG will let you know whether you should SEE IT or SKIP IT.
“Either they don't know, don't show... or don't care about what's going on in the hood.” Join Ian, Liam, Kev & Megs for our 341st episode as we head to South Central Los Angeles for John Singleton's astonishing directorial debut, Boyz n the Hood (1991). Hailed as one of the defining films of the 1990s, we explore a coming-of-age story that remains as powerful, relevant, and heartbreaking today as it was over thirty years ago. This week we discuss: John Singleton's remarkable debut — just 23 years old when he directed the film. How did a first-time filmmaker produce one of the most confident American dramas of its generation? The opening statistics — the film begins with a stark warning about violence affecting young Black men. We explore the context behind those figures, how they reflected America in the early '90s, and how the picture has changed over the decades. Larry Fishburne's Furious Styles — one of cinema's greatest fathers? We discuss why his guidance remains one of the film's emotional anchors. Cuba Gooding Jr., Ice Cube and Morris Chestnut — three young men whose futures are shaped by environment, opportunity, and the choices they make. Ian breaks down the screenplay — how Singleton balances social commentary with intimate character work, allowing the message to emerge naturally from the lives of its characters. Liam explores the film's central question — to what extent are our lives determined by circumstance, and how much agency do we truly have to change our future? Megs examines the women of Boyz n the Hood — what role do they play within the story, and how effectively does the film portray the different pressures facing young women in the same community? Kev looks at the film's legacy — how Boyz n the Hood influenced generations of filmmakers, from its storytelling to its uncompromising realism. The "show versus tell" balance — despite its powerful message, does the film avoid becoming preachy by grounding every social issue in believable human relationships? The ending — devastating, inevitable, hopeful, or all three? We discuss one of the most emotionally resonant conclusions in modern American cinema. And finally, whether Boyz n the Hood is the Best Film Ever — or simply one of the most important films ever made about growing up, community, and the cycles that shape our lives. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
“Hello, my name is Frank.” Join Ian & Liam for our 340th episode as we step into the awkward, tender, and unexpectedly moving world of Hello, My Name Is Frank (2014). Megs isn’t with us this week — she agreed to supervise a road trip but abandoned the assignment after discovering nobody had prepared an itinerary. Kev? He’s currently trapped at a support-group meeting after introducing himself and accidentally agreeing to organise the next twelve sessions. This week we discuss: Garrett M. Brown’s performance as Frank — vulnerable, funny, and painfully sincere. Does the film give its central character the depth and dignity he deserves? The road-trip structure — does taking Frank away from his familiar routines allow the story to open up, or does it rely too heavily on familiar indie-film conventions? The film’s depiction of Tourette syndrome — compassionate, educational, and humanising, or occasionally too eager to turn Frank’s condition into a source of comedy? Ian explores the film’s narrative construction — how a collection of eccentric characters and emotional detours builds toward something more heartfelt than expected. Liam examines the balance between laughing with Frank and laughing at him — and whether the film always knows the difference. The unlikely group dynamic — loneliness, grief, friendship, and the strange families people create when the ones they were given cannot provide what they need. The relationship between Frank and Laura — does it develop naturally, or does the film push its emotional destination before earning every step of the journey? The supporting performances — which characters enrich Frank’s story, and which feel as though they have wandered in from a broader, quirkier comedy? The “show versus tell” balance — does the film allow us to understand Frank through behaviour and relationships, or explain too much of what we should be discovering ourselves? The tonal shifts — broad comedy, uncomfortable encounters, and genuine sadness. Does the film hold those elements together without becoming emotionally manipulative? The third act identity crisis — at what point does Hello, My Name Is Frank quietly stop being about Frank? We unpack one of the strangest narrative pivots we've seen in years. The ending — hopeful, sentimental, or exactly the kind of emotional release the story requires? And finally, whether Hello, My Name Is Frank is the Best Film Ever — or simply a small, sincere film with more empathy than polish. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
“Stay gold, Ponyboy. Stay gold.” Join Ian, Kev & Liam for our 339th episode as we rumble with Greasers, dodge the Socs, and revisit Francis Ford Coppola's adaptation of S.E. Hinton's The Outsiders (1983). Megs isn't with us this week — she was offered membership of both the Socs and the Greasers, refused to pick a side, and is currently attempting to negotiate peace between the two gangs over a chocolate milkshake. This week we discuss: The extraordinary young cast — before they became household names. Cruise, Swayze, Estevez, Dillon, Macchio, Howell... has there ever been a more stacked ensemble of future stars? Coppola's adaptation — does the film successfully capture the heart of the novel, or is something lost in the transition from page to screen? We spend far too long talking about the World Cup — and somehow convince ourselves it's completely relevant. (It probably isn't.) Ian, Liam and Kev decide whether they're Socs or Greasers — and discover that class identity may not be quite as straightforward as they first thought. The floating heads... — artistic flourish, bizarre distraction, or one of the strangest stylistic choices in a major studio film? Ian breaks down the film's coming-of-age themes — brotherhood, identity, and why the smallest moments often carry the greatest emotional weight. Liam explores masculinity in the film — toughness, vulnerability, and whether The Outsiders was quietly ahead of its time. Kev weighs in on the rivalries — are the Socs and Greasers really that different, or are they simply products of circumstance? The "show vs tell" balance — does the narration enhance Ponyboy's story, or does the film work best when it simply lets the performances breathe? The church sequence — heroism, tragedy, and why one of cinema's most memorable moments is still so emotionally effective. The ending — hopeful, bittersweet, or quietly heartbreaking? Does Coppola earn the emotion without overplaying it? And finally, whether The Outsiders is the Best Film Ever — or simply one of the finest coming-of-age dramas ever committed to film. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
“It's all in the reflexes.” Join Ian & Liam for our 338th episode as we descend into the neon-lit underworld beneath San Francisco's Chinatown for John Carpenter's gloriously bonkers cult classic Big Trouble in Little China (1986). Megs isn't with us this week — she accidentally accepted an invitation to Lo Pan's wedding and we're told she's currently trying to escape a floating wheelchair and several unfortunate centuries-old curses. Kev? He confidently followed Jack Burton into an alley "because it'll be quicker this way" and hasn't been seen since a glowing eyeball floated past. This week we discuss: Kurt Russell's Jack Burton — swaggering, endlessly quotable, and hilariously convinced he's the hero. Is Jack actually the greatest accidental sidekick in cinema history? Who did Kurt Russell actually base his performance of Jack Burton off of? Dennis Dun's Wang Chi — the film's true protagonist hiding in plain sight. How does Carpenter brilliantly disguise whose story this really is? What 1990s video game phenomenon was heavily inspired by this film? John Carpenter's genre mash-up — martial arts, fantasy, horror, comedy, and action. Why should this film never have worked... yet somehow works perfectly? Kim Cattrall's Gracie Law — fearless, funny, and game for absolutely anything the film throws at her. Ian breaks down the screenplay — how the film constantly subverts audience expectations by making its loudest character the least competent person in the room. Liam explores the film's mythology — ancient curses, Chinese folklore, and why the exposition somehow makes less sense the more attention you pay. Lo Pan — one of the most delightfully eccentric villains of the 1980s. Menacing, theatrical, and completely unforgettable. The action choreography — practical effects, flying warriors, and glorious 1980s excess. Does the film know exactly how ridiculous it is? The "show vs tell" balance — does the film overwhelm us with mythology, or does its sheer confidence carry us through the chaos? The ending — triumphant, absurd, and leaving just enough mystery for one final sting in the tail. And finally, whether Big Trouble in Little China is the Best Film Ever — or simply one of the greatest cult movies ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
“Everybody wants to be us.” Join Ian & Liam for our 337th episode as we slip into designer shoes, grab the garment bags, and survive another impossible day at Runway magazine with The Devil Wears Prada (2006). Megs isn't with us this week — Miranda Priestly spotted her wearing cerulean before she'd learned why it was cerulean and immediately reassigned her to the Paris office. Kev? He's still trying to fetch the unpublished Harry Potter manuscript, a flight to Miami, and a steak for Miranda... all before lunch. This week we discuss: Meryl Streep's iconic performance — restrained, terrifying, and endlessly quotable. Is Miranda Priestly one of the greatest screen bosses ever created? Anne Hathaway's Andy Sachs — idealistic, ambitious, and increasingly compromised. Is her transformation inspiring, tragic, or somewhere in between? Emily Blunt steals every scene — razor-sharp timing, impeccable delivery, and why Emily Charlton remains one of the film's most beloved characters. Stanley Tucci's Nigel — warmth, wit, and heartbreak. Does he quietly become the emotional centre of the film? Ian breaks down the screenplay — how the film effortlessly balances workplace comedy, character drama, and biting satire. Liam explores the film's central question — is success worth sacrificing the people and principles that got you there? The fashion world — superficial excess, genuine artistry, or something much more complicated than the film's critics often admit? The "cerulean sweater" speech — one of the great monologues of modern cinema. Does it completely redefine how we understand Miranda? The "show vs tell" balance — how the film uses costume, performance, and visual storytelling to chart Andy's evolution without ever needing to announce it. The ending — personal victory, professional failure, or exactly the compromise Andy needed to make? And finally, whether The Devil Wears Prada is the Best Film Ever — or simply one of the smartest and most rewatchable comedies of the 21st century. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
“There’s something down there…” Join Ian & Megs for our 336th episode as we squeeze into the claustrophobic darkness, extinguish every source of comfort, and descend into Neil Marshall’s modern horror masterpiece The Descent (2005). Liam isn’t with us this week — he confidently insisted he'd found a shortcut through an unexplored cave system and, according to his last voicemail, is "pretty sure this is still the right way." Kev? He volunteered to be the group's map reader despite never actually bringing a map. We haven't seen either of them since they crawled into the first tunnel. This week we discuss: Neil Marshall's masterclass in tension — how The Descent spends almost an hour terrifying us before the monsters even become the biggest problem. The all-female ensemble — authentic friendships, believable conflict, and why the characters feel so much more than horror archetypes. Claustrophobia as horror — does the cave itself remain the film's scariest antagonist, even after the Crawlers arrive? Megs explores the group's dynamics — grief, guilt, betrayal, and how fractured relationships become just as dangerous as the environment. Ian breaks down the film's visual storytelling — darkness, colour palettes, practical effects, and why the audience never loses its sense of geography despite the labyrinth. The Crawlers — perfectly revealed monsters, or does the film become less frightening once it shows its hand? The balance between psychological horror and creature feature — is Sarah fighting monsters, trauma, or both simultaneously? The infamous UK and US endings — which version better serves the story, and does changing the ending fundamentally alter the film's message? The "show vs tell" balance — how little exposition the film needs before we're completely invested in every decision the group makes. The jump scares — expertly earned or simply proof that sound design can make anyone leap out of their seat? The ending — hopeless, empowering, hallucinatory, or one of the bleakest finales horror has ever produced? And finally, whether The Descent is the Best Film Ever — or simply one of the greatest horror films of the 21st century. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
Die Hard or Mad Max: Fury Road? Terminator 2 or Raiders of the Lost Ark? Aliens or The Matrix? Heat or John Wick? People have been arguing about the greatest action film ever made since cinema first discovered that explosions, car chases and impossible heroes could pack audiences into theatres. Even now, nobody can quite agree which film deserves the crown. Joined by some of our Friends of the Podcast – Ariannah, JDG, Aashrey, Paul Komorowski and the horseshoe himself, JDG – we've loaded up 32 of the greatest action films ever made into one winner-takes-all knockout tournament. Expect impossible choices, heartbreaking upsets, blockbuster heavyweight clashes, a few controversial calls, and enough gunfire, one-liners and practical explosions to level an entire city as we crown the Best Action Film of All Time.
“Locksley! I'm going to cut your heart out with a spoon!” Join Ian, Liam, Kev & Debbie for our 335th episode as we celebrate the 35th anniversary of Robin Hood: Prince of Thieves (1991). Grab your bow, avoid the Sheriff’s dinner invitations, and prepare for a film packed with accents of varying legality, spoon-based violence, and enough Alan Rickman scenery-chewing to feed Nottingham for a winter. Megs isn’t with us this week — she was scheduled to record, but unfortunately entered an archery tournament disguised as a peasant and is currently hiding from the Sheriff’s tax collectors. This week we discuss: Kevin Costner’s Robin Hood — movie star charisma, questionable accent, and whether audiences have ever really cared. Alan Rickman’s Sheriff of Nottingham — one of cinema’s great villains. Does he completely hijack the film from everyone around him? Morgan Freeman’s Azeem — wisdom, dignity, and why he often feels like the smartest person in every scene. The 1991 blockbuster formula — action, romance, comedy, spectacle. Is this the perfect example of a film designed to entertain first and ask questions later? Ian explores the film’s historical accuracy — or more accurately, the complete lack of concern anyone involved seems to have had about it. Liam questions whether the film is secretly two films at once — a sincere Robin Hood adventure and a dark comedy starring Alan Rickman. Kev dives into the action sequences — archery, sword fights, castle assaults, and how well they hold up three and a half decades later. Debbie weighs in on the romance — does Robin and Marian’s relationship actually work, or is it simply required by law in a Robin Hood movie? The supporting cast — Michael Wincott, Mary Elizabeth Mastrantonio, Christian Slater, and one very famous cameo that audiences still cheer for. The accent debate — does Costner’s performance improve if you simply accept that nobody in this film comes from the same county, let alone country? The “show vs tell” balance — does the film earn its emotional moments, or rely on Bryan Adams to do the heavy lifting? The ending — triumphant, excessive, and unapologetically crowd-pleasing. Is this blockbuster filmmaking at its purest? And finally, whether Robin Hood: Prince of Thieves is the Best Film Ever — or simply one of the most entertaining adventure films of the 1990s. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
“We are the spear of victory.” Join Ian & Liam for our 334th episode as we march into battle, confront history, and revisit Gina Prince-Bythewood’s epic The Woman King (2022). Megs isn’t with us this week — she’s reportedly been recruited into military service and informed us that podcasting now ranks somewhere below her training and defending the kingdom. Kev? He attempted to negotiate a peace treaty with a rival podcast and accidentally got himself appointed as a trade envoy. We wish them both luck. Later, we’re joined for The Endgame by BFF of the BFE: Juleen, who helps us unpack the film’s legacy, historical context, and emotional impact. This week we discuss: Viola Davis’ commanding performance — fierce, disciplined, and deeply human. Is this one of the great action-drama performances of the modern era? The balance between history and storytelling — where does the film take liberties, and what responsibilities come with doing so? Ian shares some exciting casting news — as he finds out the result of an audition while simultaneously trying out for a second production. The action sequences — visceral, kinetic, and grounded. How does the film distinguish itself from other historical epics? Liam explores the film’s treatment of leadership — strength, sacrifice, and the burden of responsibility. Ian makes what may be his most unexpected comparison yet — drawing a connection between The Woman King and The Notebook that somehow makes more sense than it should. The supporting cast — who stands out alongside Viola Davis, and which relationships give the story its emotional core? We discuss the passing of Anthony Head — reflecting on a career that touched everything from cult television to stage productions and beyond. The “show vs tell” balance — does the film trust its audience enough, or does it occasionally over-explain its themes? Juleen joins us for The Endgame — bringing perspective on the film’s historical representation, emotional resonance, and where it sits among modern epics. The ending — triumphant, bittersweet, or something in between? What does victory actually look like in this story? And finally, whether The Woman King is the Best Film Ever — or one of the most compelling historical dramas of the last decade. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
“The drama doesn’t stop when the cameras do.” Join Ian, Liam & Kev for our 333rd episode as we step behind the scenes of daytime television, backstage rivalries, and gloriously oversized egos with Soapdish (1991). Megs isn’t with us this week — she’s reportedly accepted a surprise role as the long-lost twin sister of a character who was presumed dead after falling into a volcano. We expect her dramatic return during sweeps week. This week we discuss: Sally Field’s performance as Celeste Talbert — charming, chaotic, insecure, and impossible not to root for. Is this one of the great comedy performances of the early '90s? The ensemble cast — Kevin Kline, Robert Downey Jr., Cathy Moriarty, Elisabeth Shue, Whoopi Goldberg. How does a film with this much talent avoid collapsing under its own weight? The satire of television production — petty feuds, ratings desperation, and the beautiful absurdity of soap-opera storytelling. Ian breaks down the film’s narrative structure — twists, reveals, mistaken identities, and why the screenplay commits so fully to the bit. Liam explores whether the film works better as industry satire or outright farce — and whether those are even different things. Kev weighs in on the performances — who understands exactly what movie they're in, and who steals every scene they enter. The soap-opera influence — evil twins, secret children, miraculous survivals, and why audiences keep coming back for more. The “show vs tell” balance — does the film cleverly parody melodrama, or occasionally become the thing it’s mocking? The surprisingly sharp commentary — beneath the silliness, what is the film actually saying about fame, aging, and relevance? Elisabeth Shue’s role — innocent newcomer, plot device, or the emotional anchor holding the madness together? The ending — ridiculous, heartfelt, and exactly as over-the-top as it needs to be or low hanging fruit in a moment that's aged terribly? And finally, whether Soapdish is the Best Film Ever — or one of the most underrated ensemble comedies of its era. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
“I never had any friends later on like the ones I had when I was twelve... does anyone?” Join Ian, Kev & Megs for our 332nd episode as we walk the tracks, dodge leeches, and revisit Rob Reiner’s coming-of-age classic Stand By Me (1986). This week is all about friendship, memory, growing up, and the strange sadness of knowing some moments only become important once they’re already gone. Liam drops in later for a special bonus segment, while BFF of the BFE: Ariannah Who Loves BFE The Most™ joins us for The Endgame. This week we discuss: River Phoenix’s extraordinary performance — vulnerable, intelligent, and quietly devastating. Was this the role that proved he was destined for greatness? The chemistry of the four boys — natural, funny, chaotic, and deeply believable. Is this one of the strongest young ensembles ever put to film? The film’s relationship with memory — nostalgia, grief, and the way adulthood reshapes childhood stories. Ian breaks down the narration structure — reflective storytelling, emotional hindsight, and why Richard Dreyfuss’ voiceover works where so many others fail. Megs explores the emotional honesty of the film — masculinity, vulnerability, and the fear of being left behind. Kev weighs in on the pacing and atmosphere — quiet moments, campfire stories, and why the journey matters more than the destination. The balance of humour and sadness — how the film pivots effortlessly between childhood comedy and existential dread. Ian talks about the short story in the middle of this bigger story and what Stephen King is really doing with it Liam joins us for a bonus segment — dropping in to talk about the film’s legacy, Stephen King adaptations, and why stories about friendship hit differently as you get older. The “show vs tell” balance — does the film earn its emotional resonance through subtle character work, or does nostalgia do some of the lifting? Ariannah joins us for The Endgame — helping us unpack why Stand By Me continues to resonate across generations and whether its emotional simplicity is actually its greatest strength. The ending — bittersweet, perfect, and quietly heartbreaking. Does any closing narration hit harder than this? And finally, whether Stand By Me is the Best Film Ever — or simply one of the most emotionally truthful coming-of-age films ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
“You have been weighed. You have been measured. And you have been found wanting.” Join Ian & Liam for our 331st episode as we joust for glory, dance to Queen in medieval Europe, and revisit Brian Helgeland’s wildly anachronistic crowd-pleaser A Knight’s Tale (2001). Megs isn’t with us this week — she’s apparently been appointed to the royal court after successfully inventing modern fashion 600 years early. Kev? Last seen trying to enter a jousting tournament under a fake noble title before being immediately exposed by Paul Bettany. This week we discuss: Heath Ledger’s breakout leading-man performance — charming, earnest, rebellious. Was this the moment Hollywood realised he could do absolutely anything? The film’s glorious tonal chaos — medieval sports movie, romantic comedy, rock concert, underdog drama. Why does this bizarre cocktail somehow work? Paul Bettany’s Chaucer — flamboyant, scene-stealing, and possibly the film’s secret MVP. Liam breaks down the film’s anachronisms — Queen, Bowie, Nike-energy editing. Does the film transcend historical accuracy through sheer confidence? Ian explores the underdog narrative — class, identity, and whether William’s rise actually challenges the social order or merely slips inside it. The romance between William and Jocelyn — genuine chemistry or the weakest part of the film? The sports-movie structure — training montages, rivalries, and comeback arcs dressed in chainmail. The “show vs tell” balance — does the film earn its emotional moments through character work, or simply overwhelm you with charisma and music? Rufus Sewell’s Count Adhemar — classic villainy, simmering resentment, and one of the great sneering performances of the era. What's with the romantic plot's detour in Act II - where did that come from? The ending — triumphant, ridiculous, emotionally earned… or all three simultaneously? And finally, whether A Knight’s Tale is the Best Film Ever — or simply one of the most aggressively lovable films of the 2000s. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank
“Boy, I got vision… and the rest of the world wears bifocals.” Join Ian, Liam & Kev for our 330th episode as we saddle up, head for Bolivia (Megs has headed back to America early), and ride into one of the most charming, melancholy, and effortlessly watchable westerns ever made with Butch Cassidy and the Sundance Kid (1969). It’s outlaws, bicycles, and impossible charisma this week as we ask whether two of cinema’s coolest men were ever really built for the world they lived in. This week we discuss: Paul Newman and Robert Redford’s legendary chemistry — playful, effortless, and endlessly quotable. Is this one of the greatest screen pairings of all time? The tone — western, comedy, tragedy, anti-western. How does the film balance charm with the creeping inevitability of its ending? Newman’s Butch Cassidy — talkative, inventive, and always thinking three steps ahead. Is he a genius… or simply delaying reality? Redford’s Sundance Kid — cool, lethal, and increasingly aware the world is changing around him. Ian breaks down the film’s structure — episodic storytelling, tonal pivots, and why the pacing feels so modern for 1969 - but does it rob us with the ending Liam questions the mythology of outlaws — are Butch and Sundance rebels, romantics, or simply criminals we’ve chosen to like? Kev dives into the cinematography and score — sweeping landscapes, freeze frames, and Raindrops Keep Fallin’ on My Head somehow working against all odds. Liam educates us all on the Old West and references about 25 other Westerns in the process The pursuit — who are those guys, and why does the film turn a chase into existential dread? Katharine Ross as Etta Place — underwritten love interest or essential emotional grounding? There's a cameo in this film that you'll never see coming - we didn't The ending — iconic, tragic, and endlessly imitated. Does freezing the moment make it more powerful? The “show vs tell” balance — how much does the film rely on charm and implication rather than explicit emotional beats? And finally, whether Butch Cassidy and the Sundance Kid is the Best Film Ever — or simply one of the coolest films ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
Hannibal or Hans Gruber? Darth Vader or The Wicked Witch? The Joker or Norman Bates? Anton Chigurh or Nurse Ratched? People have been debating the greatest movie villains ever since Dracula first crept onto the silver screen and even now audiences still can’t decide who truly rules the darkness. Joined by some of our Friends of the Podcast: Ariannah, JDG & his horseshoe, Hermes Auslander, Paul Komorowski and Sythia, we’ve chosen to embrace our villain era as we throw 32 of cinema’s greatest bad guys into a single knockout tournament. We’ve got shocking eliminations, absolute monsters of matchups, redemption arcs nobody saw coming, and enough evil monologues to fill a secret lair as we crown the Best Movie Villain of All Time.
“The Force, it’s calling to you. Just let it in.” Join Ian, Liam & Kev for our 329th episode as we celebrate our annual Star Wars Day release by jumping to lightspeed into J.J. Abrams’ galaxy-reviving blockbuster Star Wars: The Force Awakens (2015). Megs? She's not with us this week — She's been recruited by the Resistance after showing a worrying amount of lightsaber proficiency. This week we discuss: The revival question — how The Force Awakens brought Star Wars back to life after a decade away. Nostalgia, safety, or smart recalibration? Daisy Ridley’s Rey — mysterious, capable, and instantly central. Is she the perfect modern Star Wars protagonist? Why is her best work done when she's not talking? John Boyega’s Finn — defector, comic relief, emotional anchor. Does the film fully realise his potential? Adam Driver’s Kylo Ren — volatile, conflicted, and deliberately unfinished. One of the saga’s most interesting villains? Ian breaks down the film’s structure — echoes of A New Hope. Homage, remix, or outright repetition? Kev dives into the spectacle — practical effects, sound design, and what it's like to watch your first Star Wars Film The legacy characters — Han, Leia, and Luke. How well does the film balance past and future? The humour — lighter, faster, more modern. Does it fit the Star Wars tone? The “show vs tell” balance — does the film rely too heavily on familiarity, or does it earn its emotional beats? The ending — powerful, quiet, and iconic. Does it stick the landing? And finally, whether Star Wars: The Force Awakens is the Best Film Ever — or simply the most important reboot of the modern blockbuster era. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
“Let my people go.” Join Ian, Liam & Megs for our 328th episode as we part the Red Sea, confront destiny, and revisit one of the most ambitious animated films ever made with The Prince of Egypt (1998). Kev? He’s not with us this week — he attempted to follow a mysterious burning bush into the desert and hasn’t returned. We assume he’s negotiating some very specific commandments. This week we discuss: The scale of the storytelling — biblical epic through animation. How does the film balance intimacy with spectacle? Val Kilmer’s dual performance — Moses and God. Subtle, conflicted, and quietly powerful. Ralph Fiennes’ Ramses — tragic, proud, and deeply human. One of animation’s most underrated antagonists? The music — from Deliver Us to When You Believe. Does the soundtrack elevate the film into something transcendent? Megs explores the film’s emotional core — brotherhood, identity, and the cost of doing what is right. Ian breaks down the animation — traditional techniques blended with early CGI. How well does it hold up? Liam questions the narrative focus — is this Moses’ story, Ramses’ story, or something shared between them? The depiction of faith — reverent, interpretive, and accessible. Does the film succeed regardless of belief? The plagues sequence — visually stunning, morally complex, and still haunting. The “show vs tell” balance — how much does the film trust its visuals versus its dialogue and songs? Ian goes all Old Testament, telling us that 'the book was better' and how they left the ultimate sideplot sitting on the table The ending — epic, earned, and emotionally resonant. Does it land as both spectacle and personal journey? And finally, whether The Prince of Egypt is the Best Film Ever — or one of the greatest animated films ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ . Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/
You know we love our wrestling here at the BFE (well… some of us do). Join Ian from Best Film Ever and Stew from The Stew World Order podcast as we break the BFE format by looking at WrestleMania 42. We discuss whether CM Punk vs Roman Reigns delivered on the big stage, why were there so many adverts, what was the point of Pat McAfee, did we care about the big return in the women's division, whether the Jade Cargill experiment is over now, and what was with all the wrestlers using each others' finishers this year? Catch more of Stew on his own podcast: Stew World Order at https://podcasts.apple.com/us/podcast/stew-world-order/id1559913522 You can also catch him at his website where he writes about all sorts of fun things: https://swoproductions.com/