Best Film Ever

You know we love our wrestling here at the BFE—or, at least, some of us do.

Join Ian from Best Film Ever and JDG as we once again break the traditional BFE format to review all two nights of WWE SummerSlam 2026.

Did CM Punk and Cody Rhodes deliver in their battle for the Undisputed WWE Championship? Was Roman Reigns versus Seth Rollins a worthy main event—or have we seen these two fight one time too many? Did Oba Femi finally cement himself as WWE’s next great monster by stepping inside Hell in a Cell with Brock Lesnar, and was this really the end of the road for The Beast?

Ian and JDG also discuss whether Liv Morgan and IYO SKY lived up to expectations, the chaotic Interim Women’s Championship ladder match, Kevin Owens’ big return, and the increasingly bizarre world in which Danhausen is competing in a “Human Monies on a Pole” match at one of WWE’s biggest shows of the year.

Which matches stole the weekend? Which results left us scratching our heads? Did SummerSlam justify being stretched across two nights—and, most importantly, was it actually the biggest party of the summer?

All this and more as BFE swaps cinema for suplexes and breaks down WWE SummerSlam 2026.

“Kmart sucks.”

Join Ian, Liam & Megs for our 342nd episode as we hit the road for Ian's Patreon pick, Barry Levinson's Oscar-winning classic Rain Man (1988). It's a journey across America filled with family wounds, unexpected connection, and one of the most celebrated performances in cinema history. Kev isn't with us this week—he insisted Raymond was right about Kmart underwear and is currently somewhere in the American Midwest refusing to buy a different brand.

This week we discuss:

Dustin Hoffman's Oscar-winning performance — groundbreaking, influential, and endlessly imitated. How well has Raymond Babbitt's portrayal of autism stood the test of time?

Tom Cruise before he became Tom Cruise — is Charlie Babbitt one of the strongest dramatic performances of his career, and does his character truly earn the emotional destination the film arrives at?

Ian makes the case for a brilliant screenplay — from inherited trauma and forgiveness to what it means to truly communicate and how do we compartmentalise intimacy -  we explore why every major theme reinforces another in one of the tightest character scripts we've reviewed.

The road movie structure — why does Rain Man work because Raymond doesn't fundamentally change... Charlie does?

The elevator scene — one of the film's sweetest moments or one of its most complicated? We unpack how differently that sequence plays in 2026 and whether it's an affirmation of Raymond's humanity, a thoughtful act of kindness, or something more ethically complex.

Las Vegas — does the casino sequence undercut Charlie's character development by rewarding the very instincts he's supposed to be leaving behind, or is it a necessary step in his transformation?

Liam explores the brothers' relationship — does the film ultimately become less about autism than about learning to see another person on their terms rather than your own?

Megs examines the film's emotional honesty — sentimentality, manipulation, and whether Rain Man earns every emotional beat it asks of its audience.

The "show versus tell" balance — how much does the film trust Hoffman's performance to communicate Raymond's world without resorting to unnecessary exposition?

The supporting cast — particularly Susanna. Is she underwritten, or does she quietly become the emotional bridge between Charlie and Raymond?

The ending — understated, bittersweet, and refreshingly restrained. Could there have been any other conclusion that stayed true to these characters?

And finally, whether Rain Man is the Best Film Ever — or one of the finest character-driven dramas ever put to film.

Become a Patron of this podcast and support the BFE at
https://www.patreon.com/BFE

It’s another edition of See It or Skip It, and this time Ian is joined by JDG as they set sail, face monsters, tempt fate, and begin the long journey home with Christopher Nolan’s The Odyssey.

But does The Odyssey turn one of the oldest stories ever told into a genuinely thrilling cinematic epic, or does the weight of history, mythology, and expectation prove too much to carry? Ian and JDG unpack whether Nolan delivers a voyage worthy of Homer’s legendary poem — or gets lost somewhere between spectacle and self-importance.

Is the humanity still there beneath the gods, monsters, and enormous set pieces? Does Odysseus feel like a compelling hero, a deeply flawed survivor, or simply another emotionally distant Nolan protagonist? The pair dig into the performances, the film’s visual ambition, and whether its themes of loyalty, pride, temptation, identity, and homecoming still resonate thousands of years later.

Can a story this ancient still surprise a modern audience? Does Nolan find something new within the myth, or is The Odyssey more impressive as a technical achievement than an emotional experience?

All this and more in this week’s See It or Skip It review of The Odyssey — and, of course, Ian and JDG will let you know whether you should SEE IT or SKIP IT.

“Either they don't know, don't show... or don't care about what's going on in the hood.”

Join Ian, Liam, Kev & Megs for our 341st episode as we head to South Central Los Angeles for John Singleton's astonishing directorial debut, Boyz n the Hood (1991). Hailed as one of the defining films of the 1990s, we explore a coming-of-age story that remains as powerful, relevant, and heartbreaking today as it was over thirty years ago.

This week we discuss:

John Singleton's remarkable debut — just 23 years old when he directed the film. How did a first-time filmmaker produce one of the most confident American dramas of its generation?

The opening statistics — the film begins with a stark warning about violence affecting young Black men. We explore the context behind those figures, how they reflected America in the early '90s, and how the picture has changed over the decades.

Larry Fishburne's Furious Styles — one of cinema's greatest fathers? We discuss why his guidance remains one of the film's emotional anchors.

Cuba Gooding Jr., Ice Cube and Morris Chestnut — three young men whose futures are shaped by environment, opportunity, and the choices they make.

Ian breaks down the screenplay — how Singleton balances social commentary with intimate character work, allowing the message to emerge naturally from the lives of its characters.

Liam explores the film's central question — to what extent are our lives determined by circumstance, and how much agency do we truly have to change our future?

Megs examines the women of Boyz n the Hood — what role do they play within the story, and how effectively does the film portray the different pressures facing young women in the same community?

Kev looks at the film's legacy — how Boyz n the Hood influenced generations of filmmakers, from its storytelling to its uncompromising realism.

The "show versus tell" balance — despite its powerful message, does the film avoid becoming preachy by grounding every social issue in believable human relationships?

The ending — devastating, inevitable, hopeful, or all three? We discuss one of the most emotionally resonant conclusions in modern American cinema.

And finally, whether Boyz n the Hood is the Best Film Ever — or simply one of the most important films ever made about growing up, community, and the cycles that shape our lives.

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/

“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/