This week, Ben and Rob take a very detailed look at their business cards and the American Psycho (2000) revival of Mary Harron’s razor-sharp adaptation of Bret Easton Ellis’s notorious novel, starring Christian Bale as Wall Street’s most immaculately moisturised murderer, with Willem Dafoe, Jared Leto, Reese Witherspoon and Chloë Sevigny along for the ride.

How much of the book’s relentless, stomach-churning brutality survived the journey to the screen, and why did Harron and co-writer Guinevere Turner decide to play it as a satire? How did a film this divisive ever get made, with Lionsgate wanting a bigger star, Leonardo DiCaprio and Oliver Stone circling, and Harron briefly shown the door before Bale got her job back? And what about the men online who treat Patrick Bateman as an aspirational icon? Do they realise they’ve missed the joke entirely, and that he’s the most pathetic man in the room?

And finally... what does it really mean?!

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Ben and Rob head into the Argentine countryside for When Evil Lurks (Cuando acecha la maldad), the 2023 possession horror from Terrified director Demián Rugna that became Shudder’s first Spanish-language original. Brothers Pedro and Jimmy, played by Ezequiel Rodríguez and Demián Salomón, find a half-eviscerated corpse and a man about to give birth to a demon. Their botched attempt to deal with it sets off a contagion that spreads across the region, in a story where faith offers no protection and the rules of the exorcism film have been thrown out.

What real-world nightmare did Rugna say sparked the script, and how does a film about rotting, contaminated land mirror a country that sees the horror coming and does nothing about it? How did he turn a tiny Argentine budget into a daylight road movie, and was he really channelling Evil Dead, The Wailing and The Road? Why is the script so brutal and so hard to second-guess, with an opening that drops us into a world already ruined and refuses to hold our hand? How did that dog scene get filmed? And why did a film this uncompromising sweep Sitges, the Fangoria Chainsaw Awards and a cult following?

And finally… what does it really mean?!

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Ben and Rob step into Trainspotting, the 1996 adaptation of Irvine Welsh’s novel that sent Danny Boyle, screenwriter John Hodge and producer Andrew Macdonald out of the Shallow Grave sandpit and into the scuzzy flats, pubs and shooting galleries of Edinburgh’s heroin underworld. The film follows Mark “Rent Boy” Renton, played by Ewan McGregor, as he tries to kick the habit, fails, tries again, and drags his mates through the wreckage: Jonny Lee Miller’s Sick Boy, Ewen Bremner’s Spud, Kevin McKidd’s Tommy, Kelly Macdonald’s Diane, Peter Mullan’s Swanney, and Robert Carlyle’s Begbie, the friend nobody wants to be in a pub with.

What was Britain really like in 1996, a country caught between the hangover of Thatcherism and the glossy optimism of Cool Britannia? How did Boyle and his team turn a book many considered unfilmable into a £1.5 million sensation, and did they really shoot an Edinburgh story in Glasgow? How do you cast a group of near-unknowns, and how did Kelly Macdonald, who had never acted before, end up on screen opposite them? Why did a film accused of glamorising heroin become one of the most celebrated British movies ever made, and what did Underworld, Iggy Pop and the soundtrack have to do with it? And why does that “Choose life” monologue still hit so hard, thirty years on?

And finally… what does it really mean?!

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