Cult films are a dangerous thing. Sometimes great, sometimes not, they create a fervor and devotion usually saved for fringe religious groups and third party candidates. And the films make their way into the canon of filmic classics, whether or not they deserve to be there.

There is only one thing more dangerous than a cult film. A cult sequel.

I was once an acolyte who worshiped at the altar of “The Boondock Saints,” the 1999 comedic thriller about two Irish brothers in Boston who decide to become vigilantes. I saw the film when I was 16, right before I was about to move to Boston. Perhaps it was the gritty Southie cache that resonated with me, or the idea of two good-looking Irish boys saving Boston from danger, but I was in love. I’d lost touch with the movie until last week, when I saw the sequel.

It didn’t matter that I hadn’t seen it in a couple years. It was the exact same movie.

The plot’s a bit different: our anti-heroes Connor and Murphy (Sean Patrick Flanery and Norman Reedus, respectively) are on the lam in Ireland by their father (Billy Connolly) after killing numerous mobsters in Boston. After a mysterious villain starts mimicking the Saints reverent killing style, they return to Beantown to take up their savage quest. They’re pursued by another FBI agent, this time a woman- Julie Benz, who does a truly spectacular job stepping into Willem Dafoe’s airy shoes, even with half of her scenes being slow camera shots up her gamine profile. We also get a protracted back story about the boys’ father, a righteous murderer in his own right.

But the cult sequel is a very big problem because it’s made for the fans, and the fans alone. Outsiders are not just ignored, they are actively discouraged. This would not be so terrible, if not for the fact that Troy Duffy, the mastermind behind the “Saints,” decided that the only way to appease his fans would be to simply make the movie again. So we have the two boys who plot to kill bad guys based around action flicks they’ve seen. We have the hilarious, vaguely ethnic sidekick (the last one got offed in the first film). We have the religious imagery, the filthy dialogue, the stylized shoot-outs and a wily Southern FBI agent with a feminine drawl. There’s even a reference to rope- one of the first film’s best gags.

All-in-all, it’s less a movie and more of an inside joke. And as we all know, boys and girls, inside jokes are only funny to the ones who know what you’re talking about. For those who are fans of the first film, this will be a welcome diversion. Duffy is a truly wonderful screenwriter, and his dialogue clips along at a good pace. Reedus and Flanery are excellent; it’s as if they’d just stepped off the set of the first film last week. And I really did enjoy watching Benz take a luscious bite out of the scenery around her. There are surprises too- and if I spoiled any of them I’m sure I would have gold coins on my eyes by the end of the week, so let’s move on.

But if you don’t know what I mean when I talk about gold coins, or rope or that wicked funny scene with the cat, then chances are “Saints II” will only leave you slightly dizzy, and more than slightly confused. As for me, a die-hard fan of yore, I suddenly realized that somewhere between 16 years old and today, this movie had lost its cult status in my heart. It was still a good movie, sure. So is the sequel. But in terms of my devotion, I guess I’ve been deprogrammed.

There will be some spoilers in the podcast. Click at your own risk.

Now that the movie has been shown to fans, we can finally sit down and talk about it.

I saw “Boondock Saints II” last week. I liked it.

I didn’t like it in the way that I’m a news editor and occasional film critic. I didn’t love it in the way that I’m an artist and I can appreciate a classic piece of film.

Let’s face it, there’s two kinds of people in the world: The ones that love “The Boondock Saints” and the ones who hate “The Boondock Saints.”

And I love “The Boondock Saints.”

Shit, I put it on the cover. But I’m not a damn fanboy. I’m not a fanboy about anything. In fact, the more I like something, the harder I tend to be on the people in charge. You can ask the people at Sony when PlayStation 3 first came out, and you can ask Boondock writer/director Troy Duffy, because I changed the pace on Monday and asked him some pointed questions.

What you’re going to hear in the podcast on the top of this article is my session on one of a series of roundtable interviews that Duffy and actors Sean Patrick Flanery, Norman Reedus, and Billy Connolly put on at The Black Rose bar in downtown Boston. We had a good time and we laughed throughout most of the 20-minute session, but I was on a mission to bring home some data for this piece of our month-long coverage on the sequel, “All Saints Day.” But, besides that, the podcast is mostly hilariousness and gay jokes.

“It was just like riding a bicycle,” Duffy said about his return to directing.

“He sucked equally on this one as he did in the first one,” Flanery added after a pause, laughing.

But return it is. Duffy made Boondock in 1999 and hasn’t made a film since. He was a young director coming out to Hollywood, and he made some mistakes — and I’m probably being nice here. But he still managed to make a good movie amidst it all.

“They talk about Troy as a new director, but from day one it looks as if he was doing it his whole life,” Connolly said.

Just as people either love or hate Boondock, they either love or hate Duffy. (The Documentary “Overnight” really hurt him too)

The people in the original movie seem to be loyalists. Nearly everybody — including someone you don’t expect (it’s in the podcast) — is back for the sequel.

“Everything just happened,” Connolly said. “Everybody seemed to be there for the love of the piece, not just to be in a movie or earn some money.”

It showed. When you listen to the podcast and check out our other interviews, you’ll hear how good of a time they all had making both movies.

Boondock is an organic cult success, and the cast and crew know it.

“Half of Boondock was one guy sitting another guy down going ‘you’re watching this movie,’” Duffy said.

Will there be a third movie?

“Lets just ride this one into the shore and see what happens,” Duffy said. “I got some ideas.”

It’s also up to the studio and the fans. If the sequel makes money in theaters, I say bet on a trilogy.

At the end, I asked Duffy what we could expect from him going forward.

“During that 10-year period, I have written a bunch of scripts,” he said, “and I intend to knock them down like dominoes one by one. They’re in ascending budgets, all different stories. One is a period piece, a buddy comedy, a black comedy, one is about serial killers, one is called “The Peregrines” which would take me an hour to describe what the’s about, one is about a historical figure, which will take a lot of money to do that last one.”

The four guys also toured Boston College and Emerson College before premiering the movie for fans on Monday night. Here’s a vid from their day:

“Boondock Saints II: All Saints Day” is in theaters October 30.

Set for $34.99, the Boondock Saints Blu-ray features deleted scenes and outakes with commentary from cast and crew and a special director’s cut.

We would like to see a “Saints” documentary or featurette — something NEW that you couldn’t find on the DVD and Special Edition DVD of the movie.

Boondock Saints is one of the great cult classics of all time, but moreso if you live in Boston.

Just in case you aren’t familiar:

Irish brothers Connor and Murphy MacManus live and work in South Boston. After killing a Russian mobster in self-defense, the brothers believe they have found their calling from God ridding the earth of human evil. So they set out to complete their divine deed by ridding the streets of gangsters, criminals and lowlifes; and as the body count rises, the brothers become local heroes (deemed the “Boondock Saints”) even as the police are on their trail. By risking their lives for their beliefs of Veritas (truth) and Aequitas (justice), the vigilante brothers take the law into their own hands…until they are pursued by unorthodox FBI agent Paul Smecker who follows their trail of bloodshed, but admits that the boys are doing exactly what he has always secretly wished to happen.