“There’s something down there…”

Join Ian & Megs for our 336th episode as we squeeze into the claustrophobic darkness, extinguish every source of comfort, and descend into Neil Marshall’s modern horror masterpiece The Descent (2005). Liam isn’t with us this week — he confidently insisted he'd found a shortcut through an unexplored cave system and, according to his last voicemail, is "pretty sure this is still the right way." Kev? He volunteered to be the group's map reader despite never actually bringing a map. We haven't seen either of them since they crawled into the first tunnel.

This week we discuss:

• Neil Marshall's masterclass in tension — how The Descent spends almost an hour terrifying us before the monsters even become the biggest problem.
• The all-female ensemble — authentic friendships, believable conflict, and why the characters feel so much more than horror archetypes.
• Claustrophobia as horror — does the cave itself remain the film's scariest antagonist, even after the Crawlers arrive?
• Megs explores the group's dynamics — grief, guilt, betrayal, and how fractured relationships become just as dangerous as the environment.
• Ian breaks down the film's visual storytelling — darkness, colour palettes, practical effects, and why the audience never loses its sense of geography despite the labyrinth.
• The Crawlers — perfectly revealed monsters, or does the film become less frightening once it shows its hand?
• The balance between psychological horror and creature feature — is Sarah fighting monsters, trauma, or both simultaneously?
• The infamous UK and US endings — which version better serves the story, and does changing the ending fundamentally alter the film's message?
• The "show vs tell" balance — how little exposition the film needs before we're completely invested in every decision the group makes.
• The jump scares — expertly earned or simply proof that sound design can make anyone leap out of their seat?
• The ending — hopeless, empowering, hallucinatory, or one of the bleakest finales horror has ever produced?
• And finally, whether The Descent is the Best Film Ever — or simply one of the greatest horror films 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/

Die Hard or Mad Max: Fury Road? Terminator 2 or Raiders of the Lost Ark? Aliens or The Matrix? Heat or John Wick? People have been arguing about the greatest action film ever made since cinema first discovered that explosions, car chases and impossible heroes could pack audiences into theatres. Even now, nobody can quite agree which film deserves the crown. Joined by some of our Friends of the Podcast – Ariannah, JDG, Aashrey, Paul Komorowski and the horseshoe himself, JDG – we've loaded up 32 of the greatest action films ever made into one winner-takes-all knockout tournament. Expect impossible choices, heartbreaking upsets, blockbuster heavyweight clashes, a few controversial calls, and enough gunfire, one-liners and practical explosions to level an entire city as we crown the Best Action Film of All Time.

“Locksley! I'm going to cut your heart out with a spoon!”

Join Ian, Liam, Kev & Debbie for our 335th episode as we celebrate the 35th anniversary of Robin Hood: Prince of Thieves (1991). Grab your bow, avoid the Sheriff’s dinner invitations, and prepare for a film packed with accents of varying legality, spoon-based violence, and enough Alan Rickman scenery-chewing to feed Nottingham for a winter.

Megs isn’t with us this week — she was scheduled to record, but unfortunately entered an archery tournament disguised as a peasant and is currently hiding from the Sheriff’s tax collectors.

This week we discuss:

• Kevin Costner’s Robin Hood — movie star charisma, questionable accent, and whether audiences have ever really cared.
• Alan Rickman’s Sheriff of Nottingham — one of cinema’s great villains. Does he completely hijack the film from everyone around him?
• Morgan Freeman’s Azeem — wisdom, dignity, and why he often feels like the smartest person in every scene.
• The 1991 blockbuster formula — action, romance, comedy, spectacle. Is this the perfect example of a film designed to entertain first and ask questions later?
• Ian explores the film’s historical accuracy — or more accurately, the complete lack of concern anyone involved seems to have had about it.
• Liam questions whether the film is secretly two films at once — a sincere Robin Hood adventure and a dark comedy starring Alan Rickman.
• Kev dives into the action sequences — archery, sword fights, castle assaults, and how well they hold up three and a half decades later.
• Debbie weighs in on the romance — does Robin and Marian’s relationship actually work, or is it simply required by law in a Robin Hood movie?
• The supporting cast — Michael Wincott, Mary Elizabeth Mastrantonio, Christian Slater, and one very famous cameo that audiences still cheer for.
• The accent debate — does Costner’s performance improve if you simply accept that nobody in this film comes from the same county, let alone country?
• The “show vs tell” balance — does the film earn its emotional moments, or rely on Bryan Adams to do the heavy lifting?
• The ending — triumphant, excessive, and unapologetically crowd-pleasing. Is this blockbuster filmmaking at its purest?
• And finally, whether Robin Hood: Prince of Thieves is the Best Film Ever — or simply one of the most entertaining adventure films of the 1990s.

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/

“We are the spear of victory.”

Join Ian & Liam for our 334th episode as we march into battle, confront history, and revisit Gina Prince-Bythewood’s epic The Woman King (2022). Megs isn’t with us this week — she’s reportedly been recruited into military service and informed us that podcasting now ranks somewhere below her training and defending the kingdom. Kev? He attempted to negotiate a peace treaty with a rival podcast and accidentally got himself appointed as a trade envoy. We wish them both luck.

Later, we’re joined for The Endgame by BFF of the BFE: Juleen, who helps us unpack the film’s legacy, historical context, and emotional impact.

This week we discuss:

• Viola Davis’ commanding performance — fierce, disciplined, and deeply human. Is this one of the great action-drama performances of the modern era?
• The balance between history and storytelling — where does the film take liberties, and what responsibilities come with doing so?
• Ian shares some exciting casting news — as he finds out the result of an audition while simultaneously trying out for a second production.
• The action sequences — visceral, kinetic, and grounded. How does the film distinguish itself from other historical epics?
• Liam explores the film’s treatment of leadership — strength, sacrifice, and the burden of responsibility.
• Ian makes what may be his most unexpected comparison yet — drawing a connection between The Woman King and The Notebook that somehow makes more sense than it should.
• The supporting cast — who stands out alongside Viola Davis, and which relationships give the story its emotional core?
• We discuss the passing of Anthony Head — reflecting on a career that touched everything from cult television to stage productions and beyond.
• The “show vs tell” balance — does the film trust its audience enough, or does it occasionally over-explain its themes?
• Juleen joins us for The Endgame — bringing perspective on the film’s historical representation, emotional resonance, and where it sits among modern epics.
• The ending — triumphant, bittersweet, or something in between? What does victory actually look like in this story?
• And finally, whether The Woman King is the Best Film Ever — or one of the most compelling historical dramas of the last decade.

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/

“The drama doesn’t stop when the cameras do.”

Join Ian, Liam & Kev for our 333rd episode as we step behind the scenes of daytime television, backstage rivalries, and gloriously oversized egos with Soapdish (1991). Megs isn’t with us this week — she’s reportedly accepted a surprise role as the long-lost twin sister of a character who was presumed dead after falling into a volcano. We expect her dramatic return during sweeps week.

This week we discuss:

• Sally Field’s performance as Celeste Talbert — charming, chaotic, insecure, and impossible not to root for. Is this one of the great comedy performances of the early '90s?
• The ensemble cast — Kevin Kline, Robert Downey Jr., Cathy Moriarty, Elisabeth Shue, Whoopi Goldberg. How does a film with this much talent avoid collapsing under its own weight?
• The satire of television production — petty feuds, ratings desperation, and the beautiful absurdity of soap-opera storytelling.
• Ian breaks down the film’s narrative structure — twists, reveals, mistaken identities, and why the screenplay commits so fully to the bit.
• Liam explores whether the film works better as industry satire or outright farce — and whether those are even different things.
• Kev weighs in on the performances — who understands exactly what movie they're in, and who steals every scene they enter.
• The soap-opera influence — evil twins, secret children, miraculous survivals, and why audiences keep coming back for more.
• The “show vs tell” balance — does the film cleverly parody melodrama, or occasionally become the thing it’s mocking?
• The surprisingly sharp commentary — beneath the silliness, what is the film actually saying about fame, aging, and relevance?
• Elisabeth Shue’s role — innocent newcomer, plot device, or the emotional anchor holding the madness together?
• The ending — ridiculous, heartfelt, and exactly as over-the-top as it needs to be or low hanging fruit in a moment that's aged terribly?
• And finally, whether Soapdish is the Best Film Ever — or one of the most underrated ensemble comedies of its era.
• 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/

“I never had any friends later on like the ones I had when I was twelve... does anyone?”

Join Ian, Kev & Megs for our 332nd episode as we walk the tracks, dodge leeches, and revisit Rob Reiner’s coming-of-age classic Stand By Me (1986). This week is all about friendship, memory, growing up, and the strange sadness of knowing some moments only become important once they’re already gone. Liam drops in later for a special bonus segment, while BFF of the BFE: Ariannah Who Loves BFE The Most™ joins us for The Endgame.

This week we discuss:

• River Phoenix’s extraordinary performance — vulnerable, intelligent, and quietly devastating. Was this the role that proved he was destined for greatness?
• The chemistry of the four boys — natural, funny, chaotic, and deeply believable. Is this one of the strongest young ensembles ever put to film?
• The film’s relationship with memory — nostalgia, grief, and the way adulthood reshapes childhood stories.
• Ian breaks down the narration structure — reflective storytelling, emotional hindsight, and why Richard Dreyfuss’ voiceover works where so many others fail.
• Megs explores the emotional honesty of the film — masculinity, vulnerability, and the fear of being left behind.
• Kev weighs in on the pacing and atmosphere — quiet moments, campfire stories, and why the journey matters more than the destination.
• The balance of humour and sadness — how the film pivots effortlessly between childhood comedy and existential dread.
• Ian talks about the short story in the middle of this bigger story and what Stephen King is really doing with it
• Liam joins us for a bonus segment — dropping in to talk about the film’s legacy, Stephen King adaptations, and why stories about friendship hit differently as you get older.
• The “show vs tell” balance — does the film earn its emotional resonance through subtle character work, or does nostalgia do some of the lifting?
• Ariannah joins us for The Endgame — helping us unpack why Stand By Me continues to resonate across generations and whether its emotional simplicity is actually its greatest strength.
• The ending — bittersweet, perfect, and quietly heartbreaking. Does any closing narration hit harder than this?
• And finally, whether Stand By Me is the Best Film Ever — or simply one of the most emotionally truthful coming-of-age films 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/

“You have been weighed. You have been measured. And you have been found wanting.”

Join Ian & Liam for our 331st episode as we joust for glory, dance to Queen in medieval Europe, and revisit Brian Helgeland’s wildly anachronistic crowd-pleaser A Knight’s Tale (2001). Megs isn’t with us this week — she’s apparently been appointed to the royal court after successfully inventing modern fashion 600 years early. Kev? Last seen trying to enter a jousting tournament under a fake noble title before being immediately exposed by Paul Bettany.

This week we discuss:

• Heath Ledger’s breakout leading-man performance — charming, earnest, rebellious. Was this the moment Hollywood realised he could do absolutely anything?
• The film’s glorious tonal chaos — medieval sports movie, romantic comedy, rock concert, underdog drama. Why does this bizarre cocktail somehow work?
• Paul Bettany’s Chaucer — flamboyant, scene-stealing, and possibly the film’s secret MVP.
• Liam breaks down the film’s anachronisms — Queen, Bowie, Nike-energy editing. Does the film transcend historical accuracy through sheer confidence?
• Ian explores the underdog narrative — class, identity, and whether William’s rise actually challenges the social order or merely slips inside it.
• The romance between William and Jocelyn — genuine chemistry or the weakest part of the film?
• The sports-movie structure — training montages, rivalries, and comeback arcs dressed in chainmail.
• The “show vs tell” balance — does the film earn its emotional moments through character work, or simply overwhelm you with charisma and music?
• Rufus Sewell’s Count Adhemar — classic villainy, simmering resentment, and one of the great sneering performances of the era.
• What's with the romantic plot's detour in Act II - where did that come from?
• The ending — triumphant, ridiculous, emotionally earned… or all three simultaneously?
• And finally, whether A Knight’s Tale is the Best Film Ever — or simply one of the most aggressively lovable films of the 2000s.

Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE

• 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

“Boy, I got vision… and the rest of the world wears bifocals.”

Join Ian, Liam & Kev for our 330th episode as we saddle up, head for Bolivia (Megs has headed back to America early), and ride into one of the most charming, melancholy, and effortlessly watchable westerns ever made with Butch Cassidy and the Sundance Kid (1969). It’s outlaws, bicycles, and impossible charisma this week as we ask whether two of cinema’s coolest men were ever really built for the world they lived in.

This week we discuss:

• Paul Newman and Robert Redford’s legendary chemistry — playful, effortless, and endlessly quotable. Is this one of the greatest screen pairings of all time?
• The tone — western, comedy, tragedy, anti-western. How does the film balance charm with the creeping inevitability of its ending?
• Newman’s Butch Cassidy — talkative, inventive, and always thinking three steps ahead. Is he a genius… or simply delaying reality?
• Redford’s Sundance Kid — cool, lethal, and increasingly aware the world is changing around him.
• Ian breaks down the film’s structure — episodic storytelling, tonal pivots, and why the pacing feels so modern for 1969 - but does it rob us with the ending
• Liam questions the mythology of outlaws — are Butch and Sundance rebels, romantics, or simply criminals we’ve chosen to like?
• Kev dives into the cinematography and score — sweeping landscapes, freeze frames, and Raindrops Keep Fallin’ on My Head somehow working against all odds.
• Liam educates us all on the Old West and references about 25 other Westerns in the process
• The pursuit — who are those guys, and why does the film turn a chase into existential dread?
• Katharine Ross as Etta Place — underwritten love interest or essential emotional grounding?
• There's a cameo in this film that you'll never see coming - we didn't
• The ending — iconic, tragic, and endlessly imitated. Does freezing the moment make it more powerful?
• The “show vs tell” balance — how much does the film rely on charm and implication rather than explicit emotional beats?
• And finally, whether Butch Cassidy and the Sundance Kid is the Best Film Ever — or simply one of the coolest films ever made.

Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE

We are extremely thankful to our following Patrons for their most 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
• 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
• Aashrey
• 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/