Playing Devils Advocate

Matt is stuck alone reviewing the sequel to Alien vs Predator. How bad could this film be?

Matt goes back to fix his previous episodes, starting with Alien 3. Which is now episode 4.

Welcome to Playing Devils Advocate, where your hosts Chris and Matt look films that people consider bad and give them a second chance.

Except for this film. It sucks. Now here's why you should TOTALLY WATCH THIS MOVIE!!! Seriously, we didn't show you half of the hilarious stuff in this film.

With the successful Spiderman and X-men films in the early 2000s, Fox tried its hand at the Daredevil character. Unfortunately, the film flopped and is regarded as one of the worst superhero movies ever made (mostly by people unfamiliar with Superman 4 or Steel). Is there anything worth seeing here?

PS - This was made WAY before the Daredevil Netflix series, which is why we said it was "upcoming". Seriously, check it out.

Matt is left to his own devices this week and decides to look at the follow up to his favourite film of all time.

The follow up to the Matrix was well received on release, but has since gathered a reputation of a confusing mess. Is this view unfounded, or is the Matrix Reloaded as corrupted as they say?

After the Indiana Jones trilogy left it's impact on movies as well as pop culture in general, the fourth instalment was anticipated, but despite critical and financial success is widely regarded as the black sheep of the franchise by fans. Chris and Matt debate the film and see if there's anything worth liking.

Michael Bay, world renown blockbuster director, and the punchline of film critique creates the beginning of the profitable but disappointing Transformers film series. But is the first film as bad as its successors, or is there more than meets the eye with this film?

Welcome to Playing Devils Advocate, where your hosts Chris and Matt look films that people consider bad and give them a second chance.

The lackluster follow up to Aliens marks the directorial debut of Fight Club's David Fincher. Is it the under-appreciated work of a master director in the making, or the leftover scraps of a rookie director who came into a film already in pre-production?