Ben and Rob enter The Void (2016), the cosmic horror fever dream from director Steven Kostanski and the Astron 6 collective. We talk about who Steven Kostanski really is, how he went from practical effects legend to full blown cult horror auteur, and why The Void became one of the most impressive low budget horror triumphs of the 2010s.

We break down how grief and trauma bond every character in The Void, how the film uses loss as its emotional architecture, and why the personal suffering at the centre of this story makes the cosmic elements even more terrifying. Is it a metaphor for grief consuming us? A commentary on the cycle of generational harm? Or is Steven Kostanski simply telling us that the universe does not care, so we have to care for each other?

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This week, Ben and Rob step into the perfectly staged world of The Truman Show (1998), Peter Weir’s masterful satire starring Jim Carrey at his nuanced best. From the meticulously constructed Seahaven to the hidden puppeteering of Truman’s life, this film gets the lads asking one big question: how much attention is the right amount for you?

The lads explore how Peter Weir, yet again, finds greatness in the people around him - from cast to crew - and drop some behind-the-scenes gems that will make you appreciate every frame. Meanwhile, Andrew Niccol’s script continues to astonish with its prescience and control over the surreal comedy-drama. They also dive into the bizarre cultural resonance, from Lady Diana parallels to the Truman Delusion, and deliver possibly the best ‘what does it all mean’ of the show yet.

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This week, Ben and Rob dive headfirst into the radioactive rubble of Roland Emmerich’s Godzilla (1998); the overblown, rain-soaked, fish-filled blockbuster that nearly killed the King of the Monsters. Starring Matthew Broderick, Jean Reno, Maria Pitillo, and Hank Azaria, this was Hollywood’s first crack at bringing ‘Godzilla’ to the West… and oh boy, did it go through development hell.

We talk storylines that make no sense, studio interference that redefined excess, and the moment Toho themselves declared this version of Godzilla “not actually Godzilla.” But is it really as bad as legend claims? Could this misunderstood monster movie actually be thebestGodzilla ever made?

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This week, Ben and Rob stand on their desks (metaphorically) to take on Dead Poets Society (1989), Peter Weir’s quietly devastating classic starring Robin Williams, Ethan Hawke, Robert Sean Leonard, and Josh Charles. It’s the story of young men learning to think for themselves and one teacher’s battle to keep their dreams alive in a world built to crush them.

But as always, the lads don’t quite see eye to eye. Is Dead Poets Society a masterpiece of inspiration or a manipulative tragedy wrapped in nostalgia? Why did the first attempt this movie go up in very literal flames? Why is Peter Weir, one of Hollywood’s least famous great directors, not a household name? And, of course… what does it all mean?

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This week, Ben and Rob get stuck on Groundhog Day (1993), Harold Ramis’s timeless classic starring Bill Murray, Andie MacDowell, and Chris Elliott. What started as a quirky rom-com has become one of the most beloved and philosophically rich films ever made; the blueprint for every time-loop story that followed.

How did Groundhog Day even come to be? Why are time-loop movies so endlessly satisfying? Just how long was Phil Connors actually stuck reliving the same day ten years or a thousand? And underneath all the laughs, is Groundhog Day secretly a deeply spiritual movie about enlightenment, karma, and the human condition?

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This week, Ben and Rob get Caught Stealing (2025), Darren Aronofsky’s crime thriller comedy that feels like a lost ’90s gem dusted off for the modern screen. Starring Austin Butler, Zoë Kravitz, and Matt Smith, Caught Stealing reintroduces us to exaggerated neon-light New York, hustle, danger, and characters who carry regret like a heavy coat.

Why does Caught Stealing feel like the director’s first great film in ages? Is Austin Butler the best new actor working in Hollywood right now? How does Caught Stealing recreate what audiences have forgotten about the ’90s? We also get into Darren Aronofsky’s “curse of could-have-been”: can a movie be both flashy and deeply melancholic, both thrilling and haunted by its characters’ pasts? And when all is said and done, why has this somewhat broken our hosts?

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This week, Ben and Rob slither into Anaconda (1997), the gloriously over-the-top creature feature starring Jennifer Lopez, Ice Cube, Jon Voight, Eric Stoltz, and Owen Wilson. What should’ve been a throwaway B-movie about a giant snake somehow became one of the most iconic (and endlessly rewatchable) jungle horrors of the ’90s.

Why does Anaconda work so well as a B-movie? Was the legendary animatronic snake actually more convincing than its CGI counterpart? Which big-name stars almost joined the cast—and would it have changed anything if they had?

And here’s the real question: is Anaconda secretly a commentary on authoritarian religious belief? Or are we just staring too long into Jon Voight’s cursed smirk? The lads wrestle with meaning, nostalgia, and cold-blooded chaos in this deep dive into one of cinema’s most unexpectedly enduring creature features.

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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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