Ben and Rob abduct ‘Buffalo 66’, Vincent Gallo’s 1998 cult drama that sits uncomfortably between love story, character study and anti movie. Starring Vincent Gallo, Christina Ricci, Ben Gazzara, Mickey Rourke and Anjelica Huston, Buffalo 66 follows a deeply broken man staging a fake relationship to impress his parents, while quietly becoming one of the strangest and most divisive romantic films of its era.

What makes Buffalo 66 so unconventional when compared to traditional romantic dramas; why is this film so intensely polarising for audiences; and how much of its discomfort is deliberate rather than accidental? How does the insane real life persona of Vincent Gallo bleed into the film itself; where does performance end and self mythologising begin; and what does Buffalo 66 really mean when stripped of its controversy and reputation?

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Ben and Rob take stock of cinema with their best films of 2025 episode; a sprawling, argumentative and occasionally unhinged reflection on a year that refused to be tidy. From blockbuster expectations to quiet character pieces, franchise sequels to left field surprises, this episode circles titles like Weapons, Sinners, Sisu 2, Bugonia, Good Boy, A Real Pain and Superman, alongside many more films that shaped, disappointed or completely blindsided them over the last twelve months.

Did all of these films make the list; did none of them; or did some sneak in while others were left in the cold? What even defines a great film year now; how much does context change taste; and why do certain movies linger while others evaporate instantly? How much do Ben and Rob agree; how much do they absolutely not; and what does a best of list really say about the people making it?

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Ben and Rob turn it up to eleven with ‘This Is Spinal Tap’, Rob Reiner’s 1984 mockumentary that permanently rewired comedy, metal, and how musicians see themselves. Starring Christopher Guest, Michael McKean and Harry Shearer, This Is Spinal Tap follows England’s loudest and least self aware heavy metal band as they tour America, argue about amps, lose drummers at an alarming rate and accidentally create one of the most influential films of all time.

How did Rob Reiner and Christopher Guest invent an entirely new comedic language; why is metal as a genre uniquely perfect for satire; and how did This Is Spinal Tap go on to influence everything from The Office to modern mockumentary storytelling? How many real musicians see themselves uncomfortably reflected in this film; why do Ben and Rob have their own deeply Spinal Tap style music industry war stories; and what does This Is Spinal Tap really mean about ego, creativity and the absurdity of chasing greatness?

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Ben and Rob phone ‘Frankie Freako’, the latest low budget creature feature from Steven Kostanski that completes an unofficial trilogy of modern cult chaos. Made with rubber puppets, absurd creature designs and pure genre conviction, Frankie Freako leans hard into the legacy of VHS era monsters, late night cable movies and franchises like Ghoulies, while proving once again that small budgets and big ideas can still thrive outside the studio system.

Is Frankie Freako a love letter to genre movie making or a deliberate test of audience patience; how does low budget filmmaking become a strength rather than a limitation; and where does this sit alongside his winning movie Psycho Goreman? Is this the perfect example of love it or hate it niche storytelling; and what does Frankie Freako really mean in a landscape where safe films dominate and weird voices struggle to survive?

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Ben and Rob meet ‘The Wizard Of Oz’, the 1939 fantasy musical that became one of the most recognisable films in cinema history. Starring Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley and Margaret Hamilton, The Wizard Of Oz tells the magically bizarre story of a girl whisked away from Kansas into a land where witches rule, monkeys fly and nothing is quite what it seems.

What are the versions of this story that you do not know? How is this film older than you can ever imagine; and what makes the world of Oz so strangely sinister when you really look at it? How shocking was the making of this beloved classic; how does Wicked and its upcoming sequel Wicked For Good reframe the iconography of Oz for a new generation; and what does The Wizard Of Oz really mean?

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Ben and Rob unleash the chaos of ‘Psycho Goreman’, the cult cosmic comedy from director Steven Kostanski that blends Saturday morning cartoon energy with head-splitting intergalactic violence. Starring Nita Josee Hanna, Owen Myre, Matthew Ninaber, Adam Brooks, Alexis Kara Hancey and a whole army of rubber-suited nightmares, Psycho Goreman tells the story of two kids who accidentally awaken an ancient alien warlord and promptly make him their best friend.

Where did Psycho Goreman come from? What makes this such a rare movie universe; how does a film this bizarre feel so strangely coherent; and how many blink and you will miss them references did Steven Kostanski hide in plain sight? And finally, what does Psycho Goreman really mean?

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Ben and Rob dive deep into Master & Commander: The Far Side of the World, directed by Peter Weir and starring Russell Crowe and Paul Bettany, and, of course, Russell Crowe (with even more Russell Crowe to come). They unpack why this film grabbed them so powerfully on first watch, why politics usually stay off the table for them, the incredible making-of craft behind the production, and the bizarre yet undeniable parallels between this tightly focused nautical adventure and today’s sprawling mega-franchises.

Why does this film hit so hard right from the start? How does such a contained story feel oddly aligned with modern blockbuster logic? What did the behind-the-scenes dedication achieve? And honestly… what does it all mean?!

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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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