Ben and Rob phone ‘Frankie Freako’, the latest low budget creature feature from Steven Kostanski that completes an unofficial trilogy of modern cult chaos. Made with rubber puppets, absurd creature designs and pure genre conviction, Frankie Freako leans hard into the legacy of VHS era monsters, late night cable movies and franchises like Ghoulies, while proving once again that small budgets and big ideas can still thrive outside the studio system.

Is Frankie Freako a love letter to genre movie making or a deliberate test of audience patience; how does low budget filmmaking become a strength rather than a limitation; and where does this sit alongside his winning movie Psycho Goreman? Is this the perfect example of love it or hate it niche storytelling; and what does Frankie Freako really mean in a landscape where safe films dominate and weird voices struggle to survive?

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Ben and Rob meet ‘The Wizard Of Oz’, the 1939 fantasy musical that became one of the most recognisable films in cinema history. Starring Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley and Margaret Hamilton, The Wizard Of Oz tells the magically bizarre story of a girl whisked away from Kansas into a land where witches rule, monkeys fly and nothing is quite what it seems.

What are the versions of this story that you do not know? How is this film older than you can ever imagine; and what makes the world of Oz so strangely sinister when you really look at it? How shocking was the making of this beloved classic; how does Wicked and its upcoming sequel Wicked For Good reframe the iconography of Oz for a new generation; and what does The Wizard Of Oz really mean?

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Ben and Rob unleash the chaos of ‘Psycho Goreman’, the cult cosmic comedy from director Steven Kostanski that blends Saturday morning cartoon energy with head-splitting intergalactic violence. Starring Nita Josee Hanna, Owen Myre, Matthew Ninaber, Adam Brooks, Alexis Kara Hancey and a whole army of rubber-suited nightmares, Psycho Goreman tells the story of two kids who accidentally awaken an ancient alien warlord and promptly make him their best friend.

Where did Psycho Goreman come from? What makes this such a rare movie universe; how does a film this bizarre feel so strangely coherent; and how many blink and you will miss them references did Steven Kostanski hide in plain sight? And finally, what does Psycho Goreman really mean?

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Ben and Rob dive deep into Master & Commander: The Far Side of the World, directed by Peter Weir and starring Russell Crowe and Paul Bettany, and, of course, Russell Crowe (with even more Russell Crowe to come). They unpack why this film grabbed them so powerfully on first watch, why politics usually stay off the table for them, the incredible making-of craft behind the production, and the bizarre yet undeniable parallels between this tightly focused nautical adventure and today’s sprawling mega-franchises.

Why does this film hit so hard right from the start? How does such a contained story feel oddly aligned with modern blockbuster logic? What did the behind-the-scenes dedication achieve? And honestly… what does it all mean?!

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Ben and Rob enter The Void (2016), the cosmic horror fever dream from director Steven Kostanski and the Astron 6 collective. We talk about who Steven Kostanski really is, how he went from practical effects legend to full blown cult horror auteur, and why The Void became one of the most impressive low budget horror triumphs of the 2010s.

We break down how grief and trauma bond every character in The Void, how the film uses loss as its emotional architecture, and why the personal suffering at the centre of this story makes the cosmic elements even more terrifying. Is it a metaphor for grief consuming us? A commentary on the cycle of generational harm? Or is Steven Kostanski simply telling us that the universe does not care, so we have to care for each other?

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This week, Ben and Rob step into the perfectly staged world of The Truman Show (1998), Peter Weir’s masterful satire starring Jim Carrey at his nuanced best. From the meticulously constructed Seahaven to the hidden puppeteering of Truman’s life, this film gets the lads asking one big question: how much attention is the right amount for you?

The lads explore how Peter Weir, yet again, finds greatness in the people around him - from cast to crew - and drop some behind-the-scenes gems that will make you appreciate every frame. Meanwhile, Andrew Niccol’s script continues to astonish with its prescience and control over the surreal comedy-drama. They also dive into the bizarre cultural resonance, from Lady Diana parallels to the Truman Delusion, and deliver possibly the best ‘what does it all mean’ of the show yet.

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This week, Ben and Rob dive headfirst into the radioactive rubble of Roland Emmerich’s Godzilla (1998); the overblown, rain-soaked, fish-filled blockbuster that nearly killed the King of the Monsters. Starring Matthew Broderick, Jean Reno, Maria Pitillo, and Hank Azaria, this was Hollywood’s first crack at bringing ‘Godzilla’ to the West… and oh boy, did it go through development hell.

We talk storylines that make no sense, studio interference that redefined excess, and the moment Toho themselves declared this version of Godzilla “not actually Godzilla.” But is it really as bad as legend claims? Could this misunderstood monster movie actually be thebestGodzilla ever made?

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This week, Ben and Rob stand on their desks (metaphorically) to take on Dead Poets Society (1989), Peter Weir’s quietly devastating classic starring Robin Williams, Ethan Hawke, Robert Sean Leonard, and Josh Charles. It’s the story of young men learning to think for themselves and one teacher’s battle to keep their dreams alive in a world built to crush them.

But as always, the lads don’t quite see eye to eye. Is Dead Poets Society a masterpiece of inspiration or a manipulative tragedy wrapped in nostalgia? Why did the first attempt this movie go up in very literal flames? Why is Peter Weir, one of Hollywood’s least famous great directors, not a household name? And, of course… what does it all mean?

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