This week, Ben and Rob sink their teeth into Knives Out (2019), Rian Johnson’s razor-sharp murder mystery starring Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, and Toni Collette. A modern riff on Agatha Christie, Knives Out blends old-school detective tropes with wickedly funny satire and a cast firing on all cylinders.

But who is Rian Johnson, really? Why was Knives Out written in the first place? How does the film prove Johnson is a master liar, using misdirection to keep audiences guessing until the very last moment? And how did the fallout from Star Wars: The Last Jedi shape the way he wrote this murder mystery in the first place?

Most importantly; what does Knives Out really mean beneath the laughs, the sweaters, and Benoit Blanc’s legendary accent? The lads dive into Johnson’s layered storytelling, the legacy of the whodunnit genre, and why this film became one of the most beloved mysteries of the century.

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This week, Ben and Rob slam right into The Fanatic (2019), the bizarre thriller directed by Limp Bizkit frontman Fred Durst and starring John Travolta and Devon Sawa. It’s a fever dream of celebrity obsession, questionable choices, and Nu-Metal energy that has us all asking: why was this film even made?

What on earth were Travolta and Sawa thinking? Is The Fanatic based on a true story, or just Fred Durst’s wild imagination? And the real kicker—is it good, bad, or that sweet spot of so-bad-it’s-good? Maybe it even succeeds on its own bonkers B-movie terms.

The lads dig into why this film is amazing (yes, amazing), what it really means beneath the awkward line deliveries and Limp Bizkit Easter eggs, and whether The Fanatic is destined to become the next funnybad cult classic for nu-metal survivors everywhere.

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This week, Ben and Rob chew their way through Troll 2 (1990), the infamous “worst movie of all time” that somehow became one of the great cult classics. Directed by Claudio Fragasso and billed as Italian horror, Troll 2 is a feast of wooden acting, baffling dialogue, and vegetarian goblins that has been confusing and delighting audiences for decades.

Why is this film actually like this? What strange alchemy turned incompetence into schadenfreude gold? How do our own shameful pasts inform how we should watch Nilbog’s cursed townsfolk? And could there be (hidden beneath the green slime and bizarre choices) a secret lesson about regret and the human condition?

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Ben and Rob dive into The Toxic Avenger (1984), the gloriously trashy horror-comedy that turned an ordinary nerdy janitor into a mop-wielding mutant hero. Created by Lloyd Kaufman and Michael Herz, The Toxic Avenger is the ultimate mix of DIY guts, anarchic satire, and midnight-movie magic; the kind of cult classic that’s still shocking and oddly sweet nearly four decades later. Trace the Toxic Avenger’s wild journey from VHS obscurity to pop-culture demon with us, through action figures, cartoons, comic books, and midnight screenings.

How has The Toxic Avenger aged in 2025—does it still hit like a body-slam of absurdity, or feel like a dangerously dated dated relic? What does Lloyd Kaufman think when he looks back at Toxie today—and how does he celebrate its enduring weirdness?

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Ben and Rob board the Event Horizon this week, diving into Paul W.S. Anderson’s genre-bending science fiction horror that flopped hard at the box office; only to rise like a cosmic demon into cult classic territory. Featuring powerhouse performances from Laurence Fishburne and Sam Neill, Event Horizon remixes haunted‑house tropes, cosmic dread, and cyber‑Gothic design into a spaceship of nightmares.

Can a haunted spaceship film feel like Alien, Hellraiser, and Solaris all in one? How do Fishburne’s grounded reactions and Neill’s unraveling physicist elevate this twisted space‑horror ride? And what about Paul W.S. Anderson? Is he a compromised studio hack, or the mastermind behind a misunderstood masterpiece?

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This week, Ben and Rob dive into Together (2025), a tangled, self-aware horror-drama that asks big questions about love, identity, and whether two people can ever really exist as individuals or if they’re doomed to dissolve into one another. It’s part relationship study, part metatextual puzzle, and part… something else entirely.

Is Together a sensitive exploration of codependency, or a two-hour therapy session disguised as cinema? What does Michael Shanks’ short film Rebooted have to say about his writing/directing style? Are we living in the golden age of horror or just the golden age of films that like to tell us they’re horror? The ongoing copyright infringement lawsuit: what does it mean? And does it hold any weight?

Most importantly: what does Together really mean? The lads wrestle with that question, trying to separate the profound from the insane. Is this even possible? Can these ideals co-exist separately in one space or do they just… merge into one?

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This week, Ben and Rob suffer through War of the Worlds (2025), a baffling “screen life” style disaster starring Ice Cube and directed by Rich Lee. It’s a modern retelling of the classic H.G. Wells War Of The Worlds; except instead of tension, thrills, or coherence, we get glitchy video calls, insane leaps of logic, and a lead performance that suggests Ice Cube might secretly be a sociopath.

Is War of the Worlds the first alien invasion film to be completely derailed by Zoom windows? Why should director Rich Lee escape this mess blameless, and how did Ice Cube get away with whatever it is he’s doing here? And the big one: is this the worst sci-fi movie of the decade? Or in the right context, the most fun you could ever have watching an advert for Amazon?

The lads pick apart the wreckage of War of the Worlds (2025), searching for meaning, entertainment, or even a single reason it exists. Spoiler: they don’t find one.

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Ben and Rob head deep into the woods with Black Bear (2020), Lawrence Michael Levine’s tense, layered meta-drama starring Aubrey Plaza, Christopher Abbott, and Sarah Gadon. It’s part relationship breakdown, part filmmaking fever dream and maybe part psychological horror told in a way that proves three might actually be the magic number.

What does the black bear itself really symbolise? How does the film’s final frame rewire everything you thought you understood? And is this Aubrey Plaza’s best performance, or just her most unpredictable?

The lads break down the shifting realities, meta-narratives, and emotional gut punches that make Black Bear a film you can’t stop thinking about, even when you’re not entirely sure you’ve solved it.

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Ben and Rob lock and load for Warfare (2025), the haunting, hyper-realistic war film co-directed by Alex Garland and former Navy SEAL Ray Mendoza. Known for cerebral sci-fi like Ex Machina and Annihilation, Alex Garland shifts gears into combat territory—while quietly stepping back to share authorship in a way that feels as radical as the film itself.

Who is Ray Mendoza, and why did Alex Garland hand him the reins? Is it even possible to make a truly anti-war film in an industry that so often glorifies violence? And how does the bone-rattling sound design help Alex Garland disappear like a ghost from his own movie?

The lads dig into the ethics of representation, the thin line between immersion and complicity, and—most importantly—what Warfare might really be trying to say beneath all the smoke, sweat, and shell casings.

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Ben and Rob strap in for Titane (2021), the brutal, brilliant body horror from writer-director Julia Ducournau. Following her breakout debut Raw, Ducournau returns with Titane, a genre-defying mix of horror, surrealism, and melodrama that left one host completely wrecked—in the best way, the other in the worst.

Is Titane about love, loneliness, or absolutely nothing at all? What happens when your gender, identity, and skeleton all start to shift at the same time? Why does the film feel so personal for Ben, even while it so gleefully leaves Rob cold? And how exactly does Julia Ducournau make a film this shocking feel so tender?

The lads unpack how Titane affected them on a gut level, how it flips social norms on their head, and why Ducournau might be one of the most fearless filmmakers working today.

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