This week, Ben and Rob get stuck on Groundhog Day (1993), Harold Ramis’s timeless classic starring Bill Murray, Andie MacDowell, and Chris Elliott. What started as a quirky rom-com has become one of the most beloved and philosophically rich films ever made; the blueprint for every time-loop story that followed.

How did Groundhog Day even come to be? Why are time-loop movies so endlessly satisfying? Just how long was Phil Connors actually stuck reliving the same day ten years or a thousand? And underneath all the laughs, is Groundhog Day secretly a deeply spiritual movie about enlightenment, karma, and the human condition?

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This week, Ben and Rob get Caught Stealing (2025), Darren Aronofsky’s crime thriller comedy that feels like a lost ’90s gem dusted off for the modern screen. Starring Austin Butler, Zoë Kravitz, and Matt Smith, Caught Stealing reintroduces us to exaggerated neon-light New York, hustle, danger, and characters who carry regret like a heavy coat.

Why does Caught Stealing feel like the director’s first great film in ages? Is Austin Butler the best new actor working in Hollywood right now? How does Caught Stealing recreate what audiences have forgotten about the ’90s? We also get into Darren Aronofsky’s “curse of could-have-been”: can a movie be both flashy and deeply melancholic, both thrilling and haunted by its characters’ pasts? And when all is said and done, why has this somewhat broken our hosts?

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This week, Ben and Rob slither into Anaconda (1997), the gloriously over-the-top creature feature starring Jennifer Lopez, Ice Cube, Jon Voight, Eric Stoltz, and Owen Wilson. What should’ve been a throwaway B-movie about a giant snake somehow became one of the most iconic (and endlessly rewatchable) jungle horrors of the ’90s.

Why does Anaconda work so well as a B-movie? Was the legendary animatronic snake actually more convincing than its CGI counterpart? Which big-name stars almost joined the cast—and would it have changed anything if they had?

And here’s the real question: is Anaconda secretly a commentary on authoritarian religious belief? Or are we just staring too long into Jon Voight’s cursed smirk? The lads wrestle with meaning, nostalgia, and cold-blooded chaos in this deep dive into one of cinema’s most unexpectedly enduring creature features.

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This week, Ben and Rob sink their teeth into Knives Out (2019), Rian Johnson’s razor-sharp murder mystery starring Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, and Toni Collette. A modern riff on Agatha Christie, Knives Out blends old-school detective tropes with wickedly funny satire and a cast firing on all cylinders.

But who is Rian Johnson, really? Why was Knives Out written in the first place? How does the film prove Johnson is a master liar, using misdirection to keep audiences guessing until the very last moment? And how did the fallout from Star Wars: The Last Jedi shape the way he wrote this murder mystery in the first place?

Most importantly; what does Knives Out really mean beneath the laughs, the sweaters, and Benoit Blanc’s legendary accent? The lads dive into Johnson’s layered storytelling, the legacy of the whodunnit genre, and why this film became one of the most beloved mysteries of the century.

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This week, Ben and Rob slam right into The Fanatic (2019), the bizarre thriller directed by Limp Bizkit frontman Fred Durst and starring John Travolta and Devon Sawa. It’s a fever dream of celebrity obsession, questionable choices, and Nu-Metal energy that has us all asking: why was this film even made?

What on earth were Travolta and Sawa thinking? Is The Fanatic based on a true story, or just Fred Durst’s wild imagination? And the real kicker—is it good, bad, or that sweet spot of so-bad-it’s-good? Maybe it even succeeds on its own bonkers B-movie terms.

The lads dig into why this film is amazing (yes, amazing), what it really means beneath the awkward line deliveries and Limp Bizkit Easter eggs, and whether The Fanatic is destined to become the next funnybad cult classic for nu-metal survivors everywhere.

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This week, Ben and Rob chew their way through Troll 2 (1990), the infamous “worst movie of all time” that somehow became one of the great cult classics. Directed by Claudio Fragasso and billed as Italian horror, Troll 2 is a feast of wooden acting, baffling dialogue, and vegetarian goblins that has been confusing and delighting audiences for decades.

Why is this film actually like this? What strange alchemy turned incompetence into schadenfreude gold? How do our own shameful pasts inform how we should watch Nilbog’s cursed townsfolk? And could there be (hidden beneath the green slime and bizarre choices) a secret lesson about regret and the human condition?

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Ben and Rob dive into The Toxic Avenger (1984), the gloriously trashy horror-comedy that turned an ordinary nerdy janitor into a mop-wielding mutant hero. Created by Lloyd Kaufman and Michael Herz, The Toxic Avenger is the ultimate mix of DIY guts, anarchic satire, and midnight-movie magic; the kind of cult classic that’s still shocking and oddly sweet nearly four decades later. Trace the Toxic Avenger’s wild journey from VHS obscurity to pop-culture demon with us, through action figures, cartoons, comic books, and midnight screenings.

How has The Toxic Avenger aged in 2025—does it still hit like a body-slam of absurdity, or feel like a dangerously dated dated relic? What does Lloyd Kaufman think when he looks back at Toxie today—and how does he celebrate its enduring weirdness?

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Ben and Rob board the Event Horizon this week, diving into Paul W.S. Anderson’s genre-bending science fiction horror that flopped hard at the box office; only to rise like a cosmic demon into cult classic territory. Featuring powerhouse performances from Laurence Fishburne and Sam Neill, Event Horizon remixes haunted‑house tropes, cosmic dread, and cyber‑Gothic design into a spaceship of nightmares.

Can a haunted spaceship film feel like Alien, Hellraiser, and Solaris all in one? How do Fishburne’s grounded reactions and Neill’s unraveling physicist elevate this twisted space‑horror ride? And what about Paul W.S. Anderson? Is he a compromised studio hack, or the mastermind behind a misunderstood masterpiece?

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