Best Film Ever

“Hello, my name is Frank.”

Join Ian & Liam for our 340th episode as we step into the awkward, tender, and unexpectedly moving world of Hello, My Name Is Frank (2014). Megs isn’t with us this week — she agreed to supervise a road trip but abandoned the assignment after discovering nobody had prepared an itinerary. Kev? He’s currently trapped at a support-group meeting after introducing himself and accidentally agreeing to organise the next twelve sessions.

This week we discuss:

Garrett M. Brown’s performance as Frank — vulnerable, funny, and painfully sincere. Does the film give its central character the depth and dignity he deserves?

The road-trip structure — does taking Frank away from his familiar routines allow the story to open up, or does it rely too heavily on familiar indie-film conventions?

The film’s depiction of Tourette syndrome — compassionate, educational, and humanising, or occasionally too eager to turn Frank’s condition into a source of comedy?

Ian explores the film’s narrative construction — how a collection of eccentric characters and emotional detours builds toward something more heartfelt than expected.

Liam examines the balance between laughing with Frank and laughing at him — and whether the film always knows the difference.

The unlikely group dynamic — loneliness, grief, friendship, and the strange families people create when the ones they were given cannot provide what they need.

The relationship between Frank and Laura — does it develop naturally, or does the film push its emotional destination before earning every step of the journey?

The supporting performances — which characters enrich Frank’s story, and which feel as though they have wandered in from a broader, quirkier comedy?

The “show versus tell” balance — does the film allow us to understand Frank through behaviour and relationships, or explain too much of what we should be discovering ourselves?

The tonal shifts — broad comedy, uncomfortable encounters, and genuine sadness. Does the film hold those elements together without becoming emotionally manipulative?

The third act identity crisis — at what point does Hello, My Name Is Frank quietly stop being about Frank? We unpack one of the strangest narrative pivots we've seen in years.

The ending — hopeful, sentimental, or exactly the kind of emotional release the story requires?

And finally, whether Hello, My Name Is Frank is the Best Film Ever — or simply a small, sincere film with more empathy than polish.

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/

“Stay gold, Ponyboy. Stay gold.”

Join Ian, Kev & Liam for our 339th episode as we rumble with Greasers, dodge the Socs, and revisit Francis Ford Coppola's adaptation of S.E. Hinton's The Outsiders (1983). Megs isn't with us this week — she was offered membership of both the Socs and the Greasers, refused to pick a side, and is currently attempting to negotiate peace between the two gangs over a chocolate milkshake.

This week we discuss:

The extraordinary young cast — before they became household names. Cruise, Swayze, Estevez, Dillon, Macchio, Howell... has there ever been a more stacked ensemble of future stars?

Coppola's adaptation — does the film successfully capture the heart of the novel, or is something lost in the transition from page to screen?

We spend far too long talking about the World Cup — and somehow convince ourselves it's completely relevant. (It probably isn't.)

Ian, Liam and Kev decide whether they're Socs or Greasers — and discover that class identity may not be quite as straightforward as they first thought.

The floating heads... — artistic flourish, bizarre distraction, or one of the strangest stylistic choices in a major studio film?

Ian breaks down the film's coming-of-age themes — brotherhood, identity, and why the smallest moments often carry the greatest emotional weight.

Liam explores masculinity in the film — toughness, vulnerability, and whether The Outsiders was quietly ahead of its time.

Kev weighs in on the rivalries — are the Socs and Greasers really that different, or are they simply products of circumstance?

The "show vs tell" balance — does the narration enhance Ponyboy's story, or does the film work best when it simply lets the performances breathe?

The church sequence — heroism, tragedy, and why one of cinema's most memorable moments is still so emotionally effective.

The ending — hopeful, bittersweet, or quietly heartbreaking? Does Coppola earn the emotion without overplaying it?

And finally, whether The Outsiders is the Best Film Ever — or simply one of the finest coming-of-age dramas ever committed to film.

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/

“It's all in the reflexes.”

Join Ian & Liam for our 338th episode as we descend into the neon-lit underworld beneath San Francisco's Chinatown for John Carpenter's gloriously bonkers cult classic Big Trouble in Little China (1986). Megs isn't with us this week — she accidentally accepted an invitation to Lo Pan's wedding and we're told she's currently trying to escape a floating wheelchair and several unfortunate centuries-old curses. Kev? He confidently followed Jack Burton into an alley "because it'll be quicker this way" and hasn't been seen since a glowing eyeball floated past.

This week we discuss:

Kurt Russell's Jack Burton — swaggering, endlessly quotable, and hilariously convinced he's the hero. Is Jack actually the greatest accidental sidekick in cinema history?

Who did Kurt Russell actually base his performance of Jack Burton off of?

Dennis Dun's Wang Chi — the film's true protagonist hiding in plain sight. How does Carpenter brilliantly disguise whose story this really is?

What 1990s video game phenomenon was heavily inspired by this film?

John Carpenter's genre mash-up — martial arts, fantasy, horror, comedy, and action. Why should this film never have worked... yet somehow works perfectly?

Kim Cattrall's Gracie Law — fearless, funny, and game for absolutely anything the film throws at her.

Ian breaks down the screenplay — how the film constantly subverts audience expectations by making its loudest character the least competent person in the room.

Liam explores the film's mythology — ancient curses, Chinese folklore, and why the exposition somehow makes less sense the more attention you pay.

Lo Pan — one of the most delightfully eccentric villains of the 1980s. Menacing, theatrical, and completely unforgettable.

The action choreography — practical effects, flying warriors, and glorious 1980s excess. Does the film know exactly how ridiculous it is?

The "show vs tell" balance — does the film overwhelm us with mythology, or does its sheer confidence carry us through the chaos?

The ending — triumphant, absurd, and leaving just enough mystery for one final sting in the tail.

And finally, whether Big Trouble in Little China is the Best Film Ever — or simply one of the greatest cult movies 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/

“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/