Best Film Ever

By Movie Podcast

Your new favourite transatlantic film review podcast, trawling through the blockbusters and critical darlings in search of the best film ever.... more

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How many episodes does Best Film Ever have?

The podcast currently has 632 episodes available.

Best Film Ever episodes:

August 11, 2026Episode 343 - She's Gotta Have It
“I’m not a one-man woman.”
Join Ian & Megs for our 343rd episode as we head to Brooklyn for Spike Lee’s audacious, provocative, micro-budget debut She’s Gotta Have It (1986). It’s sex, independence, competing egos, and three men absolutely convinced they should be the answer to a question Nola Darling never asked. Liam isn’t with us this week — Nola told him she wasn’t interested in exclusivity and he’s been drafting a rebuttal ever since. Kev? He heard Mars Blackmon say “Please, baby, please” and has disappeared to practise his technique.
This week we discuss:
Who exactly are we supposed to like in this film? Nola, Jamie, Greer, Mars — everyone gets their moments, but are there actually any genuinely likeable characters in She’s Gotta Have It?
Tracy Camilla Johns as Nola Darling — independent, sexually confident, complicated and occasionally deeply frustrating. How radical was this protagonist in 1986, and how does she play almost forty years later?
That Thanksgiving dinner. Inviting all three men you're sleeping with to the same Thanksgiving meal is certainly a choice — but is Nola being liberated, honest and refusing to hide, or is she actually being unnecessarily cruel?
The acting is... a moving target. From genuinely effective performances to line readings that wouldn't survive an amateur theatre rehearsal, the quality fluctuates wildly — so why does the film somehow remain completely compelling?
Spike Lee’s extraordinary debut — made with virtually no money and enormous ambition. Does the roughness actually become part of the film's charm rather than something we need to forgive?
Jamie, Greer and Mars — three wildly different approaches to masculinity, yet all three ultimately want Nola to change for them. Does any one of them actually understand her?
Spike Lee as Mars Blackmon — annoying, hilarious, insecure, endlessly quotable and somehow destined to become bigger than the film itself.
Megs explores Nola’s agency — is the film genuinely celebrating a woman refusing to conform to expectations, or can Nola's independence occasionally become an excuse for treating other people badly?
Ian questions the film’s internal logic — particularly that ending. Nola and Jamie's final scene seems constructed exactly like the climax of a romantic comedy: she's lost the guy, walks away, he calls her back and gives her another chance. Everything about the cinematic language tells us this is the outcome we're supposed to want... until the film suddenly tells us it wasn't.
The final confessional — previous confessionals lead into events that we actually witness. So why does the most important one simply tell us that everything went differently without ever showing it?
And what about Nola's vow of celibacy? Is it genuine growth, or such a rejection of her defining characteristic that it feels like the film suddenly lost confidence in its own ending?
Does the finale feel rewritten? There's no smoking gun proving that it was, but Ian makes the case that the internal logic, characterisation and sudden reliance on “tell, don't show” make those final minutes feel suspiciously like a late attempt to change what the audience takes away from the film.
The film’s sexual politics in 2026 — what's still strikingly progressive, what's become considerably more complicated, and how does one deeply troubling sequence change our relationship with Jamie and everything that follows?
The black-and-white photography and that sudden explosion of colour — necessity becoming aesthetic, and the first signs of the extraordinarily confident visual filmmaker Spike Lee would become.
And finally, whether She’s Gotta Have It is the Best Film Ever — or a messy, inconsistent, sometimes infuriating debut that somehow shines brighter than many considerably more polished films.
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/
...more
2h 21min
August 10, 2026 See It Or Skip It? - Spider-Man: Brand New Day (w/ JDG, Juleen, & Hermes Auslander)
FIRST 54:00: Spoiler-Free Review with our See It/Skip It Verdict
AFTER 54:00: Full Spoiler Review
It’s another edition of See It or Skip It and this time Ian is joined by JDG, Juleen and Hermes as they swing headfirst into Spider-Man: Brand New Day — Tom Holland’s latest outing as Peter Parker and the beginning of a very different chapter for the MCU’s resident wall-crawler.
But can Spider-Man really have a brand new day after No Way Home changed everything? Ian, JDG, Juleen and Hermes suit up to explore whether this fresh start finally gives us the more grounded, street-level Peter Parker fans have been asking for — or if the wider MCU once again proves impossible to escape.
Does Brand New Day make good on the emotional consequences of Peter being forgotten by everyone he loves? Is Tom Holland finally being allowed to stand on his own as Spider-Man, or does a supporting cast featuring Hulk and Punisher threaten to turn his movie into another Marvel crossover?
The gang dig into Holland’s performance, the new status quo, the villains, the action, and whether the film remembers that the best Spider-Man stories aren’t really about saving the world — they’re about Peter Parker desperately trying to hold his own life together.
What should a Spider-Man film look like after multiverses, returning villains and three generations of Spider-Men? Can Marvel genuinely go smaller again, or has the franchise become too big to ever truly return to the neighbourhood?
All this and more in this week’s See It or Skip It review of Spider-Man: Brand New Day — and of course, Ian, JDG, Juleen and Hermes will let you know if you should SEE IT or SKIP IT.
...more
1h 54min
August 05, 2026 See It or Skip It? - SummerSlam (2026)
You 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.
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1h 55min
August 04, 2026Episode 342 - Rain Man (Updated!)
“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
...more
3h 10min
August 02, 2026 See It or Skip It? - The Odyssey (w/ James De Guzman)
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.
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1h 40min
July 28, 2026Episode 341 - Boyz N' The Hood
“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/
...more
3h 38min
July 21, 2026Episode 340 - Hello, My Name is Frank (w/ BFF of the BFE: Paul Komorowski)
“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/
...more
4h 5min
July 14, 2026Episode 339 - The Outsiders
“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/
...more
3h 58min
July 08, 2026Episode 338 - Big Trouble in Little China
“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/
...more
2h 28min
June 30, 2026Episode 337 - The Devil Wears Prada
“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/
...more
3h 50min

FAQs about Best Film Ever:

How many episodes does Best Film Ever have?

The podcast currently has 632 episodes available.

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