Kelli Maroney, star of Chopping Mall and Night of the Comet, joins us for a festive retrospective review of the first horror movie she saw in a theater: Black Christmas! The original 1974 slasher thriller has everything you want in seasonal cinema: screaming prank phone calls, unicorn stabbings and plastic bag suffocations! But does it deserve to be rescued from relative obscurity?

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Jonathan King, director of Black Sheep (see episode 11), joins us to explore The Dead Zone (1983) – a Stephen King adaptation directed by David Cronenberg that's often treated as a footnote in both of the horror maestros' careers. Christopher Walken stars as a disturbingly morbid English teacher who becomes even more disturbing after he emerges from a 5-year coma with psychic powers. Does this episodic paranormal drama deserve to escape The Dead Zone or should it be sent back into a coma?

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Conrad and Dan go back to 90s high-school in this listener's choice episode, revisiting Robert Rodriguez's alien invasion thriller The Faculty (1998). It has an eclectic cast, including Elijah Wood, Josh Hartnett, Salma Hayek, Usher and Jon Stewart, and is probably the first teen movie to suggest that drugs are the answer to an alien invasion. Does it deserve to escape the oubliette or should it be left to drown in a sea of loose-fitting blue denim?

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Don Mancini – writer, director and creator of Child's Play – joins us for our Halloween Special, and offers us a bewitching concoction that promises to take you back to your youth: Death Becomes Her (1992), a deliciously dark supernatural comedy starring Meryl Streep, Goldie Hawn and something that looks like Bruce Willis but must be an animated special effect because it's emoting too much. Should it sempre viva and live forever, or should it be pushed down a flight of stairs? Join us in our spooky special to find out!  

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Dan and Conrad investigate a distress signal and discover Isaac Sutton, filmmaker and movie blogger, who diverts their course to investigate Sunshine (2007) – Danny Boyle's largely overlooked but arguably most influential film. It features Cillian Murphy, Rose Byrne, Chris Evans and Michelle Yeoh among a diverse crew on a mission to restart our ailing sun and save the planet. Eight astronauts strapped to the back of a bomb. But does it bomb? Or did it reignite serious sci-fi?

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"Something's wrong with you. More than you being just... female," says angsty teenager Brigitte to her suddenly feisty, pet-hungry sister in Ginger Snaps – a 2000 Canadian horror film written by Karen Walton and John Fawcett and directed by the latter. Dan and Conrad try desperately to avoid mansplaining while deciding if this is a strangely overlooked landmark in the werewolf genre with a unique perspective on the female experience of puberty and high school... or whether it should be sent back to the oubliette with its hairless tail between its legs.

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The new Dark Crystal series on Netflix has given us an insatiable appetite for the fantasy worlds of Jim Henson, so we've plucked another of the company's films out of the oubliette. It's the tale of a young girl who argues with her parents and, after making a terrible wish about a family member that shockingly comes true, sets off on an adventure into a wild fantasy world to set the world to rights. No, it's not Labyrinth – it's MirrorMask (2005), written by none other than Neil Gaiman, featuring cutting-edge CGI and set in a post-apocalyptic hellscape: Brighton. What could go wrong? Quite a lot, actually.

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Dan and Conrad are stranded on an alien planet with Dennis Quaid, Louis Gossett Jr. and some remote control turtles. Yes, it's Wolfgang Petersen's 80s sci-fi epic Enemy Mine. Will they learn to get along to survive? Or will they get dragged into what looks suspiciously like the sarlacc pit?

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Duncan Skiles, director of 'The Clovehitch Killer', joins us to discuss the 80s remake of 'The Blob', directed by Chuck Russell and co-written by Frank Darabont. It creeps. And leaps. And, indeed, glides and slides. But does this gloopy body horror-infused update of the 50s classic deserve to ooze out of the oubliette?

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Jeff Palermo of the SciFi Onscreen podcast invites Conrad and Dan to the basement of an old church, where they discover John Carpenter's Prince of Darkness (1987) sealed in a canister of green goo. Is it this combination of quantum physics and biblical disaster a mind-blowing jewel in the horror master's crown, or a forgettable bunch of lame zombie kills in beige corridors?

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