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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Ben and Rob head to the frontlines with Alex Garland’s Civil War (2024), the film that he intended to be his last in the directors chair. Starring Kirsten Dunst, Wagner Moura, Cailee Spaeny, and Nick Offerman, Civil War isn’t your typical dystopian epic. Instead, Alex Garland delivers a chilling, ground-level road movie where journalists race through a divided America to document its collapse. But why did Alex Garland decide Civil War would be his final film? And why is journalism such a personal subject for this movie?

The lads also dive into the film’s technical side, unpacking how Alex Garland uses chromatic aberration to distort reality and amplify tension without the audience even realising. Is it a visual gimmick, or a metaphor for truth being refracted and fragmented?

Finally, they ask the big question: what does Civil War actually mean? Is Garland predicting the fall of democracy, mourning it, or just trying to warn us while he still can?

One thing’s certain: with Civil War, Alex Garland didn’t just make one of A24’s most successful films, he made a film that may still predict the future.

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Ben and Rob bite into Raw (2016), the feature debut of writer-director Julia Ducournau. This French body horror classic follows Justine, a lifelong vegetarian who develops a craving for human flesh during her first year at veterinary school. With visceral imagery, unflinching performances, and gallons of fake blood, Raw made Ducournau one of the most talked-about voices in horror cinema—and proved that cannibalism could be art.

Is Raw a feminist metaphor, a coming-of-age allegory, or just a very stylish nightmare about hunger and identity? Are the scenes involving animals simulated, or is this another European horror with behind the scenes crimes to admit? And is ‘Raw’ all the feminist of a film after all?

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Ben and Rob summon ‘Men’ (2022), written and directed by visionary director Alex Garland. This surreal, unsettling folk horror stars Jessie Buckley as a grieving woman plagued by a series of near-identical men—all played by Rory Kinnear—in a remote English village. As Alex Garland leaves behind the structured sci-fi of Ex Machina and Annihilation, ‘Men’ marks a bold turn into dream logic, emotional horror, and symbolic storytelling.

But what is Men really saying? What do the Green Man and Christ imagery mean in the context of British folk horror? Why do all the men have the same face—and why does the film’s final monster feel more tragic than terrifying? And most importantly: what kind of twisted genius makes this movie?

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