Best Film Ever

“If you argue correctly, you’re never wrong.” Join Ian, & Liam for our 320th episode as we light up the slick, fast-talking, morally elastic world of Jason Reitman’s Thank You For Smoking (2005). It’s spin, satire, and strategic deflection this week as we ask whether winning an argument is the same thing as being right. This week we discuss: Aaron Eckhart’s Nick Naylor — charming, composed, and ethically slippery. Is this one of the great “bad good guy” performances of the 2000s? The art of spin — how the film weaponises rhetoric, reframing, and misdirection to hilarious — and unsettling — effect. Satire with teeth — does the film actually challenge corporate lobbying culture, or does it admire its own cleverness too much? We break down the film’s tonal balance — sharp comedy undercut by quiet moments of moral reckoning. Liam explores the father-son dynamic — does the film ultimately soften Nick, or does it merely reposition him? Ian questions the target — is Big Tobacco the point, or is the film more interested in the machinery of persuasion itself? The MOD Squad scenes — Big Tobacco, Big Alcohol, Big Firearms. Broad caricature or disturbingly accurate power structures? Katie Holmes’ subplot — narrative necessity, tonal misfire, or commentary on transactional journalism? The ending — redemption arc, compromise, or simply another pivot in a long career of strategic positioning? We debate whether satire ages well — does this feel timeless, or does it belong firmly to its Bush-era moment? And finally, whether Thank You For Smoking is the Best Film Ever — or simply one of the smartest, slickest comedies of its decade. 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 Cheezy (with a fish on a bike) 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 said you couldn’t believe in someone who didn’t believe in you.” Join Ian, Liam & Megs for our 319th episode as we dive headfirst into lace gloves, record store shifts, and 1980s romantic angst with John Hughes’ Pretty in Pink (1986). It’s class divides, prom politics, and the eternal question of who really deserves Andie Walsh. This week we discuss: Molly Ringwald as Andie — resilience, insecurity, and whether she’s a fully realised protagonist or a Hughes archetype dressed in vintage. Blane’s behaviour — romantic lead or emotional liability? Does the film let him off too easily? Duckie’s devotion — lovable underdog, manipulative “nice guy,” or something more complicated? The class tension at the heart of the story — is the film actually saying something about wealth and identity, or just dressing teen drama up as social commentary? Megs unpacks the fashion — iconic, chaotic, deeply 80s. Does the final dress deserve its reputation? Ian explores the alternate ending — what changed, why test audiences intervened, and whether the original choice would have made for a stronger film. Liam questions the soundtrack supremacy — is this peak 80s needle-drop culture, or nostalgia doing heavy lifting? The father-daughter dynamic — quiet emotional centre or underdeveloped subplot?  Are certain viewers predispositioned to be on board with this - or not? The prom climax — catharsis, compromise, or cultural time capsule? We debate whether the film romanticises inequality — and whether Andie’s final choice feels empowering or regressive. And finally, whether Pretty in Pink is the Best Film Ever — or simply one of the most enduring teen romances of the 1980s. 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) 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/

Happy New Year (eventually)!  Another bonus episode for your listening enjoyment as we bring you another Reel Roundtable discussion.  Ian, Liam, Kev, and Megan look back on the films they've reviewed in 2025.  Comments, banter, and flat out arguments can be found as we debate the best that we saw in 2025 (A full list of award categories and eligible films are located at the bottom of these notes) This year we're thrilled to have ballots from seven of our patrons and Ariannah, Synthia, & Paul join us to settle any and all tie-breakers (and there were a few). The Awards: Best Screenplay Best Special Effects Best Costume Design Best Art Direction Best Cinematography Best Context Corner Highlight Best Duo Best Villain Best Animated Film Best Voice Actor Best Musical The John Williams Award for Best Score Best Song or Theme Best Soundtrack Best Tearjerker Funniest Film Best BFE Moment/Rant/Quote Best BFE Argument The Abigail Breslin Award for Best Child Actor The Steel Magnolias Award for Best Representation of Women The Natalie Portman Award for Most Attractive Female on Film The Ryan Gosling Award for Most Attractive Male on Film Best Plot Twist (no spoilers) Episode of the Year Best Patreon Film Best First Watch Most Improved Viewing Experience Best Supporting Actor Best Supporting Actress Best Actor The Frances McDormand Award for Best Actress Best Film   Eligible Films: 300 American Psycho Babylon Black Swan Cinderella Man Crash Dirty Harry Erin Brockovich Field of Dreams Ghost Heneral Luna Idiocracy Inception It Jackie Brown Jaws Karate Kid Mask Million Dollar Baby Mission: Impossible 2 Moneyball Mr. & Mrs. Smith Once Upon a Time in Hollywood One Flew Over The Cuckoo’s Nest Ordinary People Out of the Furnace Outbreak Poltergeist Predator Rocky Horror Ruby Sparks Rush Shallow Grave Shutter Island Snow White & The Seven Dwarfs Star Wars: Revenge of the Sith Superman (1978) Sweeney Todd The 40 Year Old Virgin The Fighter The Goonies The Holiday The Naked Gun The Shining The Social Network To Die For Toy Story 3 Tremors V for Vendetta What We Do In The Shadows Witness X-Men

“We’re all in this together.” Join Ian, Megs & Kev for our 318th episode as we lace up the Wildcats, grab the basketball (and the sheet music), and head back to East High for Disney Channel’s cultural phenomenon High School Musical (2006). It’s jazz hands, jump shots, and mid-2000s sincerity this week — and yes, we’re absolutely committing to the choreography. This week we discuss: The lightning-in-a-bottle appeal — how a made-for-TV movie became a generational event - especially for one member of the panel. Zac Efron and Vanessa Hudgens — chemistry, charisma, and the myth-making of teen stardom.  Does Hudgens get enough credit for the success of the franchise? Ashley Tisdale’s Sharpay Evans — villain, icon, or misunderstood theatre kid with ambition? Is she too good to dislike? Megs breaks down the musical structure — why the songs are catchier than they have any right to be, and which ones still slap. The team talks about the difficulty about the audition process - on both sides of the equation  We talk about the differences in social cliques in the North American school system versus the British school system Ian talks about how the whole plot is a conceit that he can't fully buy into - but why? Thematically — identity, peer pressure, and the fear of stepping outside the box. Why this simple message resonated so hard. The “show, don’t tell” debate — does the film trust visual storytelling, or does it lean on dialogue and lyrics to do the heavy lifting? The Disney machine — how the film’s success reshaped the network’s future output. The ending performance — triumphant, predictable, or perfectly engineered for maximum serotonin? And finally, whether High School Musical is the Best Film Ever — or simply the most aggressively rewatchable Disney Channel Original Movie 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) 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/

“Has anything you’ve done made your life better?” Join Ian, Liam, Megs & Kev for our 317th episode as we confront anger, ideology, consequence, and redemption in Tony Kaye’s incendiary and unforgettable American History X (1998). This week, we’re also joined by BFF of the BFE: Hermes Auslander, and — in a huge moment for the podcast — we sit down for a special interview with director Tony Kaye himself. This one is heavy. Necessary. Complicated. This week we discuss: Edward Norton’s blistering performance — charismatic, terrifying, magnetic. Is this one of the great transformations of the 1990s? The black-and-white vs colour structure — memory, myth, and moral framing. How does the visual language shape our understanding of Derek’s journey? The film’s central question — can hate be unlearned, and if so, what does it cost? Hermes joins us to unpack the film’s cultural and political legacy — why it still resonates, and why it remains controversial. The prison sequence — brutal, pivotal, and narratively dangerous. Does the film handle trauma responsibly? We examine the fine line between depiction and endorsement — does the film risk glamorising the ideology it condemns? The ending — inevitable, devastating, and still capable of knocking the wind out of an audience. What does it ultimately say about cycles of violence? Our special interview with Tony Kaye — reflections on authorship, conflict over the final cut, working with Edward Norton, and how he views the film now, decades later. The legacy question — has the film aged well? Has it been misunderstood? Has it been weaponised? And finally, whether American History X is the Best Film Ever — or one of the most important and confronting films we’ve ever covered. 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) 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/

Frozen or Tangled? Lion King or Snow White? Robin Hood or The Jungle Book?  Aladdin or The Emperor's New Groove?   People have been debating which is the best of the best since Snow White opined that some day her prince will come and even today the best of us can't Let It Go.  Joined by some of our Friends of the Podcast: Ariannah, JDG & his horseshoe, Hermes Auslander, Andy Dickson, and Sythia. We've determined to Be Prepared as we're setting up all 64 Disney Animated Classics in a single knockout tournament.  We've got massive upsets, Cinderella runs (literally?) and much debate as we crown the Best Disney Animated Classic of all time.

“You think this is just a story?” Join Ian, Liam, Megs & Kev for our 316th episode as we descend into the basement, start pressing buttons we absolutely shouldn’t, and dismantle the horror genre piece by piece with Drew Goddard and Joss Whedon’s The Cabin in the Woods (2011). This week is less about jump scares and more about systems, sacrifice, and whether sometimes… you really should just play the hits. This week we discuss: The central divide — why some viewers desperately wish this film had played it straight, and whether subversion automatically improves a genre story. The two-year delay — why The Cabin in the Woods sat finished but unreleased, and how that limbo shaped its eventual reception. Ian’s major life milestone this week — and why it weirdly mirrors one of the film’s themes about control and agency. Who really enjoys the metaphor — and whether reading the film as an allegory enhances the experience or drains the fun out of it entirely. Liam’s unstoppable TV digression — the show he simply will not stop referencing, regardless of relevance. We spend some well-earned time talking about Catherine O’Hara — authority, timing, and why she elevates everything she touches. The mechanics of the horror machine — archetypes, rituals, and the illusion of choice. Megs breaks down the film’s gender politics — subversion, exploitation, and how knowingly the film handles both. Kev weighs in on the concept of gatekeeping and who gets to make all these rules anyway? The elevator scene — catharsis, overload, or glorious anarchy? The ending — nihilistic, freeing, or just pulling the plug on the whole genre. And finally, whether The Cabin in the Woods is the Best Film Ever — or simply the most elaborate middle finger horror ever aimed at its own audience. 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey 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 Fantasy Box Office League begins. Ian is joined by Friends of the Podcast Aashrey, “The Horseshoe” James de Guzman, and Paul Komoroski as 4 of the 10 competitors reveal their thinking ahead of a high-stakes draft: five films each, one year, most money wins. This is a draft built on instinct, spreadsheets, vibes, and blind confidence. We talk draft strategy, risk tolerance, franchise trust, and how quickly one bad pick can torpedo an entire season.  We also talk copious smack about those who couldn't join us. Hovering over the conversation are the big 2026 questions: Event franchise dominance vs. prestige spectacle (**Avengers energy vs. Dune ambition) Reliable nostalgia vs. bold cinematic swings (**Toy Story safety vs. The Odyssey risk) Proven animation gold vs. superhero reinvention (**Super Mario confidence vs. Supergirl potential) No box office numbers yet — just claims, confidence, and future receipts waiting to happen. The draft hasn’t even finished… and the rivalries have already started.

Join Ian from Best Film Ever and Stew from The Stew World Order podcast as we break the BFE format by counting down to chaos at WWE Royal Rumble 2025 from Riyadh Season Stadium in Riyadh, Saudi Arabia. We discuss whether the Rumble matches delivered on surprises and storytelling—or if they were just a numbers game. Did WWE make the right call in crowning their Rumble winners? How did the Universal Championship match shake up the road to WrestleMania and is AJ Styles still on the road or has he taken the off ramp? We discuss how many kip-ups is too many for a show and what wrestlers do when their Super Mario stars wear off. We'll answer all these questions and hand out post-event superlatives celebrating the night's best (and worst). 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/

“We're doing our part” Join Ian, Liam, Megs & Kev for our 315th episode as we suit up, grab the propaganda reel, and drop feet-first into Paul Verhoeven’s gloriously misunderstood sci-fi satire Starship Troopers (1997). It’s bugs, blood, and bare-faced ideology this week as we try to work out whether this film knew exactly what it was doing all along. Do you want to know more? This week we discuss: The tone problem (or lack thereof) — is Starship Troopers a dumb action movie, a razor-sharp satire, or both at the same time? Paul Verhoeven’s intent — does the film critique fascism so hard that some audiences miss the joke entirely? The performances — intentionally wooden propaganda archetypes, or just bad acting elevated by context? The aesthetics of fascism — uniforms, slogans, and spectacle. Why does the film make authoritarianism look so seductive? Ian breaks down the film’s satirical mechanics — how exaggeration, repetition, and irony do the heavy lifting. Liam explores audience reception — why the film was misunderstood on release and reclaimed years later. Megs looks at gender and violence — equal-opportunity brutality, shower scenes, and the illusion of empowerment. Kev weighs in on the action — but don't get him started on the never-ending rounds of bullets The enemy — are the Arachnids monsters, victims, or an invented threat to justify endless war? The propaganda interstitials — world-building masterstrokes or narrative interruptions? Synthia joins us for The Endgame — helping us unpack the film’s legacy, its political bite, and why it feels even more relevant now than it did in 1997. The ending — triumphant, horrifying, or both? What are we actually meant to cheer for? And finally, whether Starship Troopers is the Best Film Ever — or one of the smartest films ever disguised as a stupid one. 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski 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 be cool.” Join Ian & Liam for our 314th episode as we cross the border, miss the last turn-off to sanity, and crash headlong into Robert Rodriguez and Quentin Tarantino’s genre-shredding cult classic From Dusk Till Dawn (1996). Megs isn’t with us this week — she took a job managing the Titty Twister and immediately exercised her right to not be around for what happened next. Kev? Last seen arguing with a biker about tequila and quietly backing away when things started growing fangs. This week we discuss: The hard genre pivot — crime thriller to vampire splatterfest. Is this one of cinema’s boldest structural swings or an act of deliberate sabotage? The first half vs. the second half — which film do we actually prefer, and should they ever have been stitched together in the first place? George Clooney’s breakout performance — cool, controlled, and shockingly confident. Did this film secretly create a movie star? Quentin Tarantino the actor — indulgent, uncomfortable, and deeply divisive. Does his presence add anything, or actively derail the film? Ian questions the film’s tonal discipline — is chaos the point, or does excess eventually become exhaustion? Liam explores the film’s grindhouse DNA — exploitation homage, midnight-movie energy, and why this works better at 11:30pm than 2:00pm. Salma Hayek’s iconic sequence — empowerment, objectification, or pure genre spectacle? We unpack why this moment still sparks debate. The violence escalation — gleeful, grotesque, and increasingly cartoonish. Where does fun end and numbness begin? The rules of the vampires and the timing of when characters turn  — clear, flexible, or completely improvised depending on the scene? You won't believe the piece of literature that Ian wants to compare this to The ending — aftermath, absurdity, and the sudden return to moral quiet after absolute carnage. And finally, whether From Dusk Till Dawn is the Best Film Ever — or simply the wildest left turn ever taken by a mainstream ’90s movie. 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski 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 can’t handle the truth.” Join Ian & Liam for our 313th episode as we step into the pressurised courtroom, moral brinkmanship, and razor-sharp dialogue of Rob Reiner’s A Few Good Men (1992). Button up the dress whites, take your seats, and prepare for a film obsessed with duty, power, and the stories institutions tell themselves to survive. This week we discuss: Aaron Sorkin’s dialogue as a weapon — rhythm, repetition, and confrontation. Is this peak Sorkin, or the moment his style becomes unmistakably dominant? Tom Cruise as Lt. Kaffee — charming, evasive, underestimated. Is this Cruise’s most interesting performance precisely because he starts behind the power curve? Jack Nicholson’s Colonel Jessup — operatic, terrifying, magnetic. Does the film become his the moment he enters it? The courtroom structure — how the film drip-feeds information, builds pressure, and engineers one of the most famous climaxes in cinema history. The ethics at the heart of the story — where does responsibility lie: with the men who carried out orders, or the system that created them? Ian talks about criticisms of the ending and if they're reading the film correctly  We explores how masculinity functions in the film — honour, obedience, pride, and camaraderie The supporting cast — Demi Moore’s steely professionalism, Kevin Bacon’s moral slipperiness, and who almost got Kevin Pollak's role That scene — inevitability versus surprise. Does the famous monologue work because it’s shocking, or because it feels unavoidable? The ending — justice served, or merely order restored? What actually changes once the truth is out? And finally, whether A Few Good Men is the Best Film Ever — or simply one of the most watchable, endlessly quotable courtroom dramas 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski 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/

“Somebody almost walked off wiith all my stuff.” Join Ian & Liam for our 312th episode as we step into the emotionally raw, confrontational, and fiercely theatrical world of For Colored Girls (2010) — a film that asks big questions about pain, survival, and voice, and demands we sit with the discomfort of its delivery. We’re later joined by BFF of the BFE: Juleen for The Endgame, as we try to make sense of what hits hardest… and what doesn’t land at all. This week we discuss: Whether For Colored Girls successfully translates from stage to screen — or if something vital is lost in the move from choreopoem to cinema. The central tension — is it possible to fully agree with a film’s message and still believe it’s not a well-made film? The sheer level of star power — and why the performances feel wildly disparate. Which ones moved us, which ones frustrated us, and which ones actively pulled us out of the film. Who unexpectedly steals the show — emerging from the ensemble to deliver a performance that cuts through everything else. The question of tone — is there simply too much poetry here, even when it’s beautifully spoken and powerfully performed? How close this film came to being worse — and how an originally cast actress’s pregnancy may have unintentionally saved the film from an even harsher imbalance. Ian questions the film’s direction and framing — does Tyler Perry trust the material enough, or does the camera overemphasise emotion that should be allowed to breathe? Liam explores the film’s confrontational style — is the lack of subtlety a flaw, or is subtlety beside the point entirely? The emotional toll — is the film asking us to witness pain, process it, or simply endure it? Juleen joins us for The Endgame — bringing insight, perspective, and lived context to the discussion, and helping us unpack what the film is reaching for, even when it misses. The ending — cathartic, overwhelming, or emotionally blunt? We unpack whether the final moments feel earned. And finally, whether For Colored Girls is the Best Film Ever — or a deeply important work whose ambition outpaces its execution. 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski 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 another edition of See It or Skip It, and this time Ian is joined by Kev and Megs as they click their heels, defy gravity (again), and head back to Oz for Wicked: For Good — the second chapter of the long-awaited big-screen adaptation of the Broadway phenomenon. But does Wicked: For Good stick the landing, or does splitting the story in two finally come back to haunt it? Ian, Kev, and Megs unpack whether this concluding chapter delivers the emotional payoff fans have been promised — or whether it buckles under the weight of expectation, spectacle, and inevitability. Is the heart still there? Do Elphaba and Glinda’s journeys feel earned, devastating, and cathartic — or overly polished and pre-packaged? The trio dig into performances, musical moments, and whether the film earns its big themes about power, friendship, compromise, and legacy. Can a story everyone knows still surprise you? Does For Good justify its existence as a standalone film, or does it feel like the second act stretched to breaking point? All this and more in this week’s See It or Skip It review of Wicked: For Good — and of course, Ian, Kev, and Megs will let you know if you should SEE IT or SKIP IT.

“I wrote you.” Join Ian & Liam for our 312th episode as we step into the strange, tender, and quietly unsettling world of Ruby Sparks (2012) — a film about creativity, control, fantasy, and what happens when the person you imagine refuses to stay that way. Typewriters ready. Boundaries optional. This week we discuss: The central conceit — what happens when your idealised version of someone becomes real, and whether the film earns the right to ask that question. Paul Dano’s performance — wounded, awkward, gifted, and quietly terrifying. Is Calvin a romantic lead… or a cautionary tale? Zoe Kazan’s Ruby — luminous, frustrating, independent, and increasingly human. How does the film balance charm with agency? The ethics of authorship (first level) — when creativity crosses into control, and when love turns into manipulation.  The ethics of authorship (second level)- What about the ethics of Zoe Kazan's screenplay and performance opposite her actual romantic partner in Paul Dano Our own Ruby Sparks asks whether the film understands its own power dynamics — or if it occasionally romanticises behaviour it should interrogate harder. The meta-text — a film written by its female lead about being written by a man. How much does that context change everything? We talk about fantasy vs. reality in relationships — and how dangerous it is to fall in love with someone who exists only on your terms. Is Calvin a hard lead to sympathise with on any level?  Does his status as financially successful cause him to be less easy to support? There are… hypotheticals discussed — moments that feel uncomfortably specific, strangely timed, or oddly familiar, without ever being about anything in particular. Pure coincidence, obviously. We talk about whether this is strictly a male-female perspective or if it's something innately more comprehensively human than that The tonal shift — rom-com whimsy giving way to something much darker. Does the film stick the landing? The ending — hopeful, troubling, cyclical? What does the final image actually suggest?  Ian presents what he thinks is the author's intent And finally, whether Ruby Sparks is the Best Film Ever — or one of the most quietly confronting relationship films of the 2010s. 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski 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 just want to be loved… preferably by Christmas.” Join Ian, Liam (always listed second), Megs & Kev for our 310th episode as we swap mirror-lined jealousies and boxing-laden family dramas for frosted cottages, floppy fringes, and Nancy Meyers’ warm, impractical kitchens with The Holiday (2006). Crack open the mulled wine, argue about accents, and prepare to answer the most important seasonal question of all: is this even a Christmas film… or is it secretly a New Year’s movie pretending to care about tinsel? This week we discuss: Whether The Holiday qualifies as a Christmas film at all — or if it’s really a New Year’s movie wearing a festive jumper, pressed into service only because our Patreon members voted it in as the Christmas review. How Ian possibly survives reviewing a film starring Cameron Diaz — given his long, storied, and deeply felt loathing toward her screen presence. How Megs approaches a film built around Jack Black — an actor she famously does not enjoy - despite her choices of undergarments - especially when he’s positioned as a romantic lead. Nancy Meyers’ world-building — does the film ever show us emotion, or does it rely entirely on characters telling us exactly how they feel at all times? Cameron Diaz’s Amanda — chaotic, guarded, and allergic to crying. Is this performance misunderstood… or exactly why Ian struggles? Kate Winslet’s Iris — earnest, wounded, endlessly self-sacrificing. Is she the emotional heart of the film or a fantasy of suffering femininity? Jude Law’s Graham — peak Meyers male fantasy, or walking red flag wrapped in knitwear? Jack Black’s Miles — pretentious douchebag, charming underdog, or the film’s secret emotional MVP? The dual-location structure — England vs. LA, coziness vs. confidence. Does the contrast deepen the story or just sell vibes? The film’s relationship with grief, loneliness, and romantic recovery — is it sincere, or comfort-food cinema avoiding real mess? Kev weighs in on the soundtrack and score cues — emotional shorthand or effective storytelling tool? Can we get over the plotholes? Who goes to LA to visit a house sight unseen and who leaves their dog behind for someone else to look after? The ending(s) — festive payoff, narrative convenience, or emotional earnedness? Haven't they just chosen a false ending once you really look at it? And finally, whether The Holiday is the Best Film Ever — or simply the most aggressively rewatchable seasonal comfort movie 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski 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’m not a stepping stone.” Join Ian, Liam & Megs for our 309th episode as we step into the sweat-soaked gyms, fractured families, and hard-won resilience of David O. Russell’s The Fighter (2010). Lace up the gloves, tape the wrists, and prepare for a story about loyalty, damage, and the cost of fighting your way out of the place you came from.  We're bragging about knocking down Sugar Ray Leonard this week as we discuss: Christian Bale’s extraordinary, Oscar-winning transformation — volatile, compulsive, heartbreaking. Is this one of the great supporting performances of modern cinema? Mark Wahlberg as Micky Ward — or is he just playing Mark Wahlberg with less swearing? Amy Adams’ breakout performance — sharp, grounded, and unflinching. Did the camera take advantage of her though? The family dynamic — love, obligation, manipulation, and control. When does support turn into sabotage? Megs breaks down the portrayal of working-class women — authenticity, resilience, and why the female characters feel unusually real for a boxing movie. Ian explores how The Fighter subverts the sports-film formula — less about glory, more about survival and self-definition.  Is it even a boxing film? The documentary-style camerawork — raw, intimate, and invasive. How does the film blur the line between sports drama and social realism? The ethics of redemption — does Dicky earn his comeback, or does the film soften the damage he’s done?  Which member of the cast just couldn't forgive him The boxing itself — brutal, unromantic, and exhausting. Does stripping away spectacle make the fights hit harder? The ending — triumphant, restrained, emotionally complicated or underwhelming? We unpack what “winning” actually means here. And finally, whether The Fighter is the Best Film Ever — or simply one of the most honest American sports dramas of the 21st century. 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski 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 Champ… is here.” Join Ian and special guest Stew from The Stew World Order Podcast as we sit down at the Ringside Roundtable to take a deep-dive look at one of the most polarizing, celebrated, and influential wrestlers in WWE history — John Cena. Across nearly two decades, Cena went from Ruthless Aggression rookie to the face of an entire era, and this special episode breaks down every chapter of his career with honesty, insight, and maybe a few “You Can’t See Me” jokes. This week we discuss the following  while debating we can be seen or not: Our Cena origin stories — Ruthless Aggression debuts, the Undertaker handshake, the F-U era, the rapper gimmick, and the pivot to PG’s Hustle, Loyalty, Respect. Which version of Cena did we meet first? What made Cena appealing — why kids adored him, whether his “Never Give Up” mantra was authentic, and if he was secretly underrated in-ring all along. Where the hate came from — the roots of the Cena Sucks movement, the difference between hating the booking and hating Cena himself, and whether fans resented how “corporate” he felt. Was the backlash justified? — did fan criticism have merit, or did Cena silence doubters with consistently strong, big-match performances later in his career? Cena’s in-ring legacy — how good he actually was bell-to-bell, the key matches that define his style, and whether “Super Cena” booking helped or hindered him. The Cena character — iconic or limiting? Should he have turned heel? And how effective was his mic work beyond the occasional goofy promo? Did Cena make stars… or bury them? — who benefitted most from working with him (Owens, Styles, Umaga) and who fans believe he held back. Was Cena good for wrestling overall? — did he grow the audience or preside over decline? Was his mainstream presence a net positive? And did WWE rely on him too heavily? Cena’s cultural footprint — is he WWE’s last true megastar? How Make-A-Wish shaped his legacy, and whether Hollywood changed how fans view him today. Cena vs. modern WWE — how he’d fare if he debuted now, how his style fits today’s product, and whether Roman Reigns is truly Cena 2.0. The endgame — did Cena step away at the right time? Should Gunther be his final opponent? Is Saturday Night’s Main Event the right farewell? Does he need one last WrestleMania moment? Defining rivalries — the feuds that shaped his career, whether he elevated or overshadowed opponents, and our Top 5 Cena Rivalries each. Cena’s legacy — where he ranks all-time, how defining he was for the PG Era, and how his longevity compares to Hulk Hogan, Steve Austin, The Rock, and Roman Reigns. And finally, the verdict — was John Cena good or bad for wrestling? Has history softened the criticism? And what is his true legacy when everything is weighed together? Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE

“I just want to be perfect.” Join Ian & Megs for our 308th episode as we step into the mirror-lined, razor-edged, emotionally fraught world of Darren Aronofsky’s Black Swan (2010). Lace up your shoes, crack your knuckles, and prepare to descend into obsession, duality, and tutu-level trauma. This week we discuss: Natalie Portman’s extraordinary, Oscar-winning transformation — fragile ingénue, ruthless perfectionist, and fractured psyche in one. Mila Kunis as the effortless chaos to Nina’s claustrophobic control — real threat or manifested paranoia? Aronofsky’s visual language: reflections, doubles, textures, and body horror. How does he trap the audience inside Nina’s deteriorating mind? The film’s depiction of artistic pressure and perfectionism — when does ambition turn pathological? What other film could we not stop referencing whilst watching this film Megs questions the ballet accuracy (and the wildly inaccurate bits) — including the culture, the training, and the psychological toll Ian asks if the film does a good enough job educating the audience about ballet to make the film accessible We talk about how Black Swan functions as a companion piece to The Wrestler — obsession as both craft and self-destruction. The boundaries between reality and hallucination — when does the film stop being literal? Or was it metaphor all along? We examine the film’s treatment of sexuality, identity, and agency through the lens of duality: White Swan vs. Black Swan, innocence vs. corruption, submission vs. liberation. The final performance — triumphant, tragic, transcendent? We unpack the film’s unforgettable ending. And finally, whether Black Swan is the Best Film Ever — or simply one of the most hypnotic psychological thrillers of the 21st century. 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski 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're as real as a f**king donut!” Join Ian, Liam & Beadle Steve for our 307th episode as we cruise down Sunset Boulevard, slip into our moccasins, and take a long, nostalgic look at Quentin Tarantino’s sun-drenched fairytale Once Upon a Time in Hollywood (2019). Megs and Kev? They’re not with us this week — Megs got invited to a last-minute audition on a Spaghetti Western set outside Rome, and Kev got lost trying to hitchhike to the Playboy Mansion. We wish them both luck. We're also waxing poetic about Jay Glennie's excellent history of the film with "The Making of Quentin Tarantino's Once Upon a Time In Hollywood" available everywhere now. This week we discuss: How Tarantino utilises revisionist history and a clear late sixties aesthetic into his most affectionate, laid-back film yet. Leonardo DiCaprio’s turn as Rick Dalton — insecure, electric, and oddly sympathetic. Brad Pitt’s Cliff Booth — stuntman, handyman, maybe-murderer, absolute legend. Beadle Steve weighs in on the film’s leaving of breadcrumbs and its toasty payoff How the film handles Sharon Tate with grace, warmth, and unexpected emotional weight much to Liam's appreciation The Manson Family sequences — slow-burning dread done right but where is Charlie and why does Ian argue it's the right call for the film? Ian breaks down Tarantino’s structural choices: meandering brilliance or indulgent reimagining? The film’s controversial ending — catharsis, fantasy, or simply Tarantino being Tarantino?  Does it help if you know the real life history? Someone argues it doesn't matter and the film still works. Nostalgia vs. narrative: does the film rely too heavily on vibes, or is that the point? We question whether OUATIH is a buddy film, a fairy tale, a love letter, or all of the above. The “Rick Dalton meltdown” scene — one of the great comedic acting moments of the decade? Which parts got combined and then split again on account of scheduling conflicts Who was supposed to be in the film if not for tragedy occurring? And finally, whether Once Upon a Time in Hollywood is the Best Film Ever — or just Tarantino’s most beautifully crafted hangout movie. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE. Buy Jay Glennie's book at https://amzn.eu/d/fTGfDBu 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 Andy Dickson Chris Pedersen Duane Smith (Duane Smith!) Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Paul Komoroski 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/