Kill It With Fire - Cult Movies and Cult-ure killitwithfire

Coming to a basement near you!
In this episode, Ady, Peter, and Paul discuss underseen Genevieve Jolliffe’s 1998 film Urban Ghost Story, starring Jason Connery, Heather Ann Foster, and Billy Boyd.
Topics discussed include ghost stories with present-day settings (including Play for Today’s Vampires and Govan Ghost Story, and of course the BBC’s Ghostwatch), the differences between British and American ghost stories, the influence and impact of the Enfield Poltergeist case (and Paul does an a-m-a-zing impersonation of “Bill,” the ghost from that case), the popularity of urbex videos and explorations of “haunted” buildings on the Tubes of You, the career of Genevieve Jolliffe and collaborator Chris Jones, the book co-authored by Jolliffe and Jones entitled The Guerrilla Filmmakers Handbook, Paul’s ongoing confusion of the American Alex Jones and our Alex Jones (the Welsh telly presenter), and Paul’s experiences in basements.

Bookmaker or bookkeeper? What's the difference? Fuggedaboudit!
Nikki, Peter, and Paul take a look at Bob Giraldi's underseen 2000 film Dinner Rush, which stars Danny Aiello, Kirk Acevedo, Sandra Bernhard, Edoardo Ballerini, and John Corbett.
In this episode, topics discussed include mob movies, director Bob Giraldi's career as a filmmaker-restaurateur, food in films (with a sidebar discussion of the excellent 1996 picture Big Night), Paul's new nickname ("Paulie Puddings"), and Peter's man-crush for John Corbett.

It’s the principal, man
Peter and Paul take a look at Christopher Cain’s 1987 movie The Principal, starring James Belushi, Louis Gossett Jr, and Rae Dawn Chong.
Topics discussed include the intersection of the American high school picture and the vigilante film, depictions of race and ethnicity in these films, the connection between this film and Damian Lee’s Abraxas: Guardian of the Universe (1990), and The Principal’s awkward fusion of gritty urban drama and Jim Belushi goofiness.

Craven some robotic hijinx
In this instalment of the Kill It With Fire – Cult Movies and Cult-ure podcast, Ady and Paul take a look at Wes Craven's oft-neglected 1986 film Deadly Friend.
Topics discussed in this episode include: the origins of the film in Diana Henstell's novel, Friend; the positioning of the film in Craven's career; the film's blending of family-friendly hijinx with graphic horror; the production history of the film; the controversies surrounding the film's final edit.
This episode was recorded prior to Shout! Factory's Blu-ray release of Deadly Friend in 2021.

Tanks for listening
In this instalment of the Kill It With Fire – Cult Movies and Cult-ure podcast, Ady, Peter and Paul discuss Kevin Reynold’s 1988 war film The Beast of War, aka The Beast, based on the play Nanawatai by William Mastrosimone
Topics discussed in this episode include: the films of Kevin Reynolds; the work of playwright William Mastrosimone, and his research in writing the play ‘Nanawatai’ on which The Beast of War is passed; stage-to-screen adaptations; Mitchell and Webb’s ‘Are we the bad guys?’ sketch; the David and Goliath story; a film about Vietnam but set in Afghanistan; a Western in modern dress; realism in language; Russians speaking with American accents; subtitles or not for Pashtun dialogue; American films of the 1980s about the Soviet invasion of Afghanistan; Paul outing himself as a monstrous raging cinephile (and seeing no shame in this).
Please note that unfortunately, we experienced some technical issues in the recording of this podcast. This resulted in some mental confusion (what’s new, I hear you say) and a couple of abrupt edits. We apologise for this.

Crom!... and Jelly-Baby Monsters
 
This instalment of the Kill It With Fire – Cult Movies and Cult-ure podcast takes a look at Richard Fleischer’s 1984 sequel to Conan the Barbarian, Conan the Destroyer.
 
Topics discussed in this episode include: 1980s sword and sorcery films; the film’s problematic production; the cuts made to the film; magic versus might; Lovecraftian influences; Robert E Howard adaptations; monsters; the Freudian undertones of a film so focused on men with big choppers; and Peter’s leftover chicken wings.