When Mr Tech is in town, it's time to dust off some computer game adaptations. Unfortunately, we are fast running out of game adaptations that we're all collectively willing to watch, so this week we're instead exploring a couple of films in which characters are transported into a game. We start off with the film that pioneered this sort of cinema concept, Tron (1982), directed by Steve Lisberger, and follow that up with Mamoru Oshii's non-anime, Eastern European crossover, Avalon (2001).

We don't call out a Spoiler Territory for Tron because it just didn't seem necessary but we do include one for Avalon. If you want to skip ahead from that point, you can rejoin the conversation at the 2:38:12 mark to avoid spoilers.

Want to get in touch? You can reach us on [email protected]

Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

"Veridis Quo" by Daft Punk

Nothing compares to the horror of a lycanthropic female family member. The 80's knew that and so do this week's guests, Ted Bennett and Heather Drain, who are both back to talk about some more of that decade's pop film culture detritus. Under-appreciated gems or trash best forgotten? We've never been more polarised!

First up, rather odd teen comedy, My Mom's a Werewolf (1989), directed by Michael Fischa and then, is it a sequel? Is it even a werewolf movie? Philippe Mora's Howling II... Your Sister is a Werewolf (1985) provokes some passionate reactions, both positive and negative.

Let's just say, plot is not really the reason to watch either of these films, so we won't be announcing a Spoiler Territory section for either of them.

Want to get in touch? You can reach us on [email protected]

Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

"Dracula" by Snips

It's a high speed episode this week, whether that's horses and stagecoaches sprinting across Apache territory or Fiats and vans driving dangerously around the narrow streets of Milan. Actor and film maker Greg Furman joins us to discuss a couple of classics from two different worlds of cinema. We start off with the seminal Hollywood western blockbuster, Stagecoach (1939), directed by John Ford and follow that up with Fernando Di Leo's The Italian Connection (1972) - during which we pay tribute to German-Italian legend, Mario Adorf, who we lost in April this year.

The statute of limitations on spoilers has probably expired for Stagecoach, but we do call out Spoiler Territory for The Italian Connection. If you want to skip ahead from that point, you can rejoin the conversation at the 2:32:43 mark to avoid spoilers.

Want to get in touch? You can reach us on [email protected]

Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

"The John Wayne" by Little Green Cars

Trains of DOOM! Horror artist extraordinaire, Graham Humphreys, is in the house to talk about a couple of railbound cult horror classics. First up: Eugenio Martin's classic Hammer-adjacent gem, Horror Express (1972) - an absolute delight of the sci-fi-horror subgenre. Our B movie is famed act of cinematic weirdness, Night Train to Terror (1985), ostensibly directed by Jay Schlossberg-Cohen but incorporating film material from a whole bunch of film-makers.

We don't think it's really possible to spoil something as fundamentally incoherent as Night Train to Terror, so no Spoiler Territory for that one. We do, however, call out Spoiler Territory for Horror Express. If you want to skip ahead from that point, you can rejoin the conversation at the 1:07:35 mark to avoid spoilers.

Want to get in touch? You can reach us on [email protected]

Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

Chris Collier's new documentary about the work of Graham Humphreys, Captured Souls, can be ordered on blu-ray from 24footsquare.com

"This Train Will be Taking No Passengers" by Augie March

Violence and dread on the mean streets of New York and Milan. Mike White stops by to discuss a hard-boiled double feature from two very different crime cinema traditions. First up: Across 110th Street (1972), directed by Barry Shear, followed by Gambling City (1975), directed by Sergio Martino.

We will be announcing a Spoiler Territory section for both films, so if you haven't seen them before you listen, you can nevertheless avoid spoilers for Across 110th Street by skipping ahead to the 1:16:42 mark, and for Gambling City by skipping ahead to 2:10:17.

Want to get in touch? You can reach us on [email protected]

Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

"Do It Right" by Bobby Womack

Stories about lovers on the run have been captivating audiences since the classic years of Hollywood - although it feels like a long time since we've seen many notable examples. Graham Williamson of the Pop Screen podcast pops in to talk about the history of the sub-genre and also to discuss a couple of contrasting examples. First up, seminal New Hollywood classic, Bonnie and Clyde (1967), directed by Arthur Penn and then, something COMPLETELY different, James Robert Baker's shot-on-video work of backyard auteurism, Blonde Death (1984).

Bonnie and Clyde treats real life events which haven't been news since the 1930's, and Blonde Death isn't really spoilable, so we won't be announcing a Spoiler Territory section for either of the films this week.

Want to get in touch? You can reach us on [email protected]

Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

"Black and Blonde" by Veruca Salt

We're checking out a couple of weird riffs on the vampire from Eastern Europe this week. Jonathan Owen joins us to discuss the beautiful and bizarre Czech New Wave classic, Valerie and Her Week of Wonders (1970), directed by Jaromil Jireš and then a curious blend of vampire and car racing, Juraj Herz's Ferat Vampire (1982). Both films explore weird psychoerotic territory both grotesque and beautiful - and whatever you think of them, they are each pretty unique.

We will be announcing a Spoiler Territory section for both films, so if you haven't seen them before you listen, you can nevertheless avoid spoilers for Valerie and Her Week of Wonders by skipping ahead to the 1:25:44 mark, and for Ferat Vampire by skipping ahead to 2:09:07.

Want to get in touch? You can reach us on [email protected]

Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

"Fast Blood" by Frightened Rabbit

In the future, it's 2100. But it used to be 2027. But then, 70 years later, some people time travelled back to 1980. And after 20 years passed, our story begins. Don't worry, it doesn't matter what year it is. Just know that a very muscly lady needs to run around in the African desert while Chad Stahelski struggles not to die of heat exhaustion in a very top-heavy robot suit.

In this bonus episode, we continue Project Nemeses with the first of many sequels, Nemesis 2: Nebula (1995), directed again by Albert Pyun. Ted is with Rob and Joe again, and they all struggle valiantly (or not so valiantly, as the case may be) to make sense of what should be pretty straightforward but somehow isn't. Luckily, no one really watches one of these movies for its plot.

Given all that, we don't bother with Spoiler Territory this week. We don't even know what year it is, so don't worry about being too well informed by this episode.

Want to get in touch? You can reach us on [email protected]

Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

"Search and Destroy" by Peaches

Friday night's a good night for slashing, so here comes Part 4 of our meandering trip through the Friday the 13th franchise. Al is in the house again as we check out Friday the 13th Part VII: The New Blood (1988), directed by John Carl Buechler, and then we delve into the inevitable Platinum Dunes remake effort, Friday the 13th (2009), directed by Marcus Nispel. Is it a misunderstood gem? And how could Part VII ever recover from its (ironic) evisceration at the rapacious hands of the MPAA?

Let's just say, plot is not really the reason to watch either of these films. so we won't be announcing a Spoiler Territory section for either of them.

Want to get in touch? You can reach us on [email protected]

Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

"Night Train" by The Kills

Stephen Frears is not an habitual purveyor of the sort of cult cinema we usually cover on this show. But we do love our noir, and Frears does have two outstanding neo-noirs in his filmography, so why not knock them both off the list in one episode? Bryce joins us to discuss The Grifters (1990), along with Frears' earlier effort, The Hit (1984). This is noir with an emphasis on existential. And his Oscar-nominated Grifters may have been an establishment darling, but adapted by Donald Westlake from a Jim Thompson novel, it has a hell of a crime fiction pedigree, and goes to some incredibly dark places.

We will be announcing a Spoiler Territory section for both films, so if you haven't seen them before you listen, you can nevertheless avoid spoilers for The Grifters by skipping ahead to the 1:30:59 mark, and for The Hit by skipping ahead to 2:29:02.

Want to get in touch? You can reach us on [email protected]

Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp

"Magdalena 318" by the Pixies