Ben and Rob take stock of cinema with their best films of 2025 episode; a sprawling, argumentative and occasionally unhinged reflection on a year that refused to be tidy. From blockbuster expectations to quiet character pieces, franchise sequels to left field surprises, this episode circles titles like Weapons, Sinners, Sisu 2, Bugonia, Good Boy, A Real Pain and Superman, alongside many more films that shaped, disappointed or completely blindsided them over the last twelve months.

Did all of these films make the list; did none of them; or did some sneak in while others were left in the cold? What even defines a great film year now; how much does context change taste; and why do certain movies linger while others evaporate instantly? How much do Ben and Rob agree; how much do they absolutely not; and what does a best of list really say about the people making it?

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Ben and Rob turn it up to eleven with ‘This Is Spinal Tap’, Rob Reiner’s 1984 mockumentary that permanently rewired comedy, metal, and how musicians see themselves. Starring Christopher Guest, Michael McKean and Harry Shearer, This Is Spinal Tap follows England’s loudest and least self aware heavy metal band as they tour America, argue about amps, lose drummers at an alarming rate and accidentally create one of the most influential films of all time.

How did Rob Reiner and Christopher Guest invent an entirely new comedic language; why is metal as a genre uniquely perfect for satire; and how did This Is Spinal Tap go on to influence everything from The Office to modern mockumentary storytelling? How many real musicians see themselves uncomfortably reflected in this film; why do Ben and Rob have their own deeply Spinal Tap style music industry war stories; and what does This Is Spinal Tap really mean about ego, creativity and the absurdity of chasing greatness?

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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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