This week, Ben and Rob suffer through War of the Worlds (2025), a baffling “screen life” style disaster starring Ice Cube and directed by Rich Lee. It’s a modern retelling of the classic H.G. Wells War Of The Worlds; except instead of tension, thrills, or coherence, we get glitchy video calls, insane leaps of logic, and a lead performance that suggests Ice Cube might secretly be a sociopath.

Is War of the Worlds the first alien invasion film to be completely derailed by Zoom windows? Why should director Rich Lee escape this mess blameless, and how did Ice Cube get away with whatever it is he’s doing here? And the big one: is this the worst sci-fi movie of the decade? Or in the right context, the most fun you could ever have watching an advert for Amazon?

The lads pick apart the wreckage of War of the Worlds (2025), searching for meaning, entertainment, or even a single reason it exists. Spoiler: they don’t find one.

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Ben and Rob head deep into the woods with Black Bear (2020), Lawrence Michael Levine’s tense, layered meta-drama starring Aubrey Plaza, Christopher Abbott, and Sarah Gadon. It’s part relationship breakdown, part filmmaking fever dream and maybe part psychological horror told in a way that proves three might actually be the magic number.

What does the black bear itself really symbolise? How does the film’s final frame rewire everything you thought you understood? And is this Aubrey Plaza’s best performance, or just her most unpredictable?

The lads break down the shifting realities, meta-narratives, and emotional gut punches that make Black Bear a film you can’t stop thinking about, even when you’re not entirely sure you’ve solved it.

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Ben and Rob lock and load for Warfare (2025), the haunting, hyper-realistic war film co-directed by Alex Garland and former Navy SEAL Ray Mendoza. Known for cerebral sci-fi like Ex Machina and Annihilation, Alex Garland shifts gears into combat territory—while quietly stepping back to share authorship in a way that feels as radical as the film itself.

Who is Ray Mendoza, and why did Alex Garland hand him the reins? Is it even possible to make a truly anti-war film in an industry that so often glorifies violence? And how does the bone-rattling sound design help Alex Garland disappear like a ghost from his own movie?

The lads dig into the ethics of representation, the thin line between immersion and complicity, and—most importantly—what Warfare might really be trying to say beneath all the smoke, sweat, and shell casings.

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