Podcast
Best Film Ever
Hosted by Movie Podcast · EN
Your new favourite transatlantic film review podcast, trawling through the blockbusters and critical darlings in search of the best film ever.
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Episode 342 - Rain Man (Updated!)
4d ago03:09:49Tap to summarize“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
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See It or Skip It? - The Odyssey (w/ James De Guzman)
6d ago01:39:06Tap to summarizeIt’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.
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Episode 341 - Boyz N' The Hood
2w ago03:37:42Tap to summarize“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/
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Episode 340 - Hello, My Name is Frank (w/ BFF of the BFE: Paul Komorowski)
3w ago04:04:02Tap to summarize“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/
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Episode 339 - The Outsiders
4w ago03:57:38Tap to summarize“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/
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Episode 338 - Big Trouble in Little China
Jul 802:27:24Tap to summarize“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/
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Episode 337 - The Devil Wears Prada
Jun 3003:49:32Tap to summarize“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/
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Episode 336 - The Descent
Jun 2302:35:35Tap to summarize“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/
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Media Madness #06 - What is the Greatest Action Film of All-Time?
Jun 1901:42:45Tap to summarizeDie 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.
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Episode 335 - Robin Hood: Prince of Thieves
Jun 1604:24:00Tap to summarize“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/
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