Best Film Ever

“Everybody wants to be us.”

Join Ian & Liam for our 337th episode as we slip into designer shoes, grab the garment bags, and survive another impossible day at Runway magazine with The Devil Wears Prada (2006). Megs isn't with us this week — Miranda Priestly spotted her wearing cerulean before she'd learned why it was cerulean and immediately reassigned her to the Paris office. Kev? He's still trying to fetch the unpublished Harry Potter manuscript, a flight to Miami, and a steak for Miranda... all before lunch.

This week we discuss:

Meryl Streep's iconic performance — restrained, terrifying, and endlessly quotable. Is Miranda Priestly one of the greatest screen bosses ever created?

Anne Hathaway's Andy Sachs — idealistic, ambitious, and increasingly compromised. Is her transformation inspiring, tragic, or somewhere in between?

Emily Blunt steals every scene — razor-sharp timing, impeccable delivery, and why Emily Charlton remains one of the film's most beloved characters.

Stanley Tucci's Nigel — warmth, wit, and heartbreak. Does he quietly become the emotional centre of the film?

Ian breaks down the screenplay — how the film effortlessly balances workplace comedy, character drama, and biting satire.

Liam explores the film's central question — is success worth sacrificing the people and principles that got you there?

The fashion world — superficial excess, genuine artistry, or something much more complicated than the film's critics often admit?

The "cerulean sweater" speech — one of the great monologues of modern cinema. Does it completely redefine how we understand Miranda?

The "show vs tell" balance — how the film uses costume, performance, and visual storytelling to chart Andy's evolution without ever needing to announce it.

The ending — personal victory, professional failure, or exactly the compromise Andy needed to make?

And finally, whether The Devil Wears Prada is the Best Film Ever — or simply one of the smartest and most rewatchable comedies 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/

“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/