Paul and Erin review two films about supernatural goings-on aboard understaffed space stations. First: SOLARIS, Andrei Tarkovsky's cerebral 1972 sci-fi classic about a cosmonaut scientist who encounters a simulacrum of his dead wife while in orbit around a sentient planet; then, EVENT HORIZON, Paul W.S. Anderson's 1997 sci-fi/horror film about a team of astronauts who answer a distress call from a remote starship, only to discover that the ship is empty and possibly possessed by a malevolent force from Hell itself. Drinking liquid oxygen or gouging your eyes out with your bare hands: which will prevail?

Plus our quick takes on CINDERELLA, TV's HANNIBAL, THE KINGDOM OF DREAMS AND MADNESS, THE LAST FIVE YEARS, IT FOLLOWS, and ELECTRIC BOOGALOO: THE WIND, UNTOLD STORY OF CANNON FILMS.

Erin and Paul review two films about female pop divas, and the men who try to protect them. First: BEYOND THE LIGHTS, Gina Prince-Bythewood's 2014 romantic drama starring Gugu Mbatha-Raw as a troubled R&B singer and Nate Parker as the handsome cop she falls in love with after he rescues her from a suicide attempt; then, THE BODYGUARD, the 1992 melodrama starring Kevin Costner and Whitney Houston, about a stoic security expert who finds himself falling in love with the Academy Award-nominated singer/actress he is hired to protect from a murderous stalker. A fight at the BET Awards, or an assassination attempt at the Oscars: which will prevail?

Plus: our quick takes on SONG OF THE SEA, THE VOICES, LOVE IS STRANGE, and THE OVERNIGHTERS.

Erin and Paul review two films about game shows—one cerebral, one physical, both of them rigged. First: QUIZ SHOW, Robert Redford's 1994 film about the quiz-show scandal of the 1950s, starring Ralph Fiennes as Charles Van Doren, whose string of victories on the program TWENTY-ONE turned out to have been engineered by the show's producers feeding him the answers; then, THE RUNNING MAN, the 1987 Arnold Schwarzenegger vehicle, set in a totalitarian future where the most popular show on television is a ruthless AMERICAN GLADIATORS-style competition in which convicted criminals must fight for their lives against outlandishly costumed trained killers. Soundproof isolation booths, or frictionless underground transport tubes: which will prevail?

Plus our quick takes on CHAPPIE, THE DUKE OF BURGUNDY, and WHAT WE DO IN THE SHADOWS.

Paul and Erin review two films about prison escapes, racism, and unbreakable chains. First: THE DEFIANT ONES, Stanley Kramer's 1958 classic starring Tony Curtis and Sidney Poitier as two escaped convicts—one an angry black man, the other a white racist—attempting to evade the authorities while shackled together at the wrist; then, BLACK MAMA WHITE MAMA, Eddie Romero's 1972 sleazefest, set on a corrupt tropical island, starring Pam Grier and Margaret Markov as two shackled-together female convicts who must put aside their mutual hatred of each other when they escape from a women's penitentiary. A special appearance by SPIDER BABY star Lon Chaney Jr., or a special appearance by SPIDER BABY star Sid Haig: which will prevail?

Plus our quick takes on STILL ALICE, FOCUS, WATERLAND, and WILD TALES.

Paul and Erin get tied up in an epic discussion of two films about bondage and submission: the new film version of E.L. James' bestselling erotic novel FIFTY SHADES OF GREY, and Roman Polanski's film version of David Ives' play VENUS IN FUR. Plus: our quick takes on THE LAST FIVE YEARS, THE DUFF, DEAR WHITE PEOPLE, and DECEPTIVE PRACTICE: THE MYSTERIES AND MENTORS OF RICKY JAY.

Paul and Erin brush up against two recent films about great (and not-so-great) real-life artists. First: MR. TURNER, Mike Leigh's biopic starring Timothy Spall as the 19th-century British landscape artist J.M.W. Turner; then, BIG EYES, Tim Burton's offbeat account of Walter Keane, who rose to fame in the 1960s thanks to his kitschy paintings of mournful children, only to have his creations unmasked as the work of his wife Margaret. A man who refused to acknowledge his own children, or a man who became famous for painting orphans: which will prevail?

Plus: listeners pick the most anomalous auteur films of all time, and our quick takes on KINGSMAN: THE SECRET SERVICE, IT FOLLOWS, WETLANDS, MOEBIUS, and R100.

Paul and Erin review two films about immature gangsters with wacky nicknames. First: BUGSY, Barry Levinson's 1991 biopic starring Warren Beatty as gangster-slash-cockeyed visionary Bugsy Siegel, and Annette Bening as his mistress and eventual business manager; then, BUGSY MALONE, Alan Parker's offbeat 1976 musical gangster spoof, in which Scott Baio and Jodie Foster head up an all-child cast to tell the story of a boxing promoter who winds up in the middle of a turf war between two rival gangs. The Flamingo Hotel or Fat Sam's Grand Slam: which will prevail?

Plus: our quick takes on INHERENT VICE, SEVENTH SON, JUPITER ASCENDING, A GIRL WALKS HOME ALONE AT NIGHT, MILIUS, PADDINGTON, and IN HER PLACE.

Paul and Erin reveal their picks for the year's ten best films, as well as their choices for 2014's best performances, most overrated and underrated movies, and much, much more. BOYHOOD? Bollywood? Which will prevail?

Just in time for Christmas, Erin and Paul review two films about harrowing home invasions. First: HOME ALONE, Chris Columbus' 1990 blockbuster starring Macauley Culkin as a boy who fights off a pair of bumbling burglars after being accidentally left behind when the rest of his family goes on a trip to Europe; then, FUNNY GAMES, Michael Haneke's shot-for-shot 2007 English-language remake of his 1997 German original, a Brechtian suspense film about a family whose Long Island vacation home is invaded by a pair of sadistic killers. An iron to the head, or a golf club to the kneecap: which will prevail?

Plus: our quick takes on WILD, ANNIE, INTO THE WOODS, and TWO DAYS, ONE NIGHT, as well as our favourite underrated Christmas movies, and listener choices for the director who's had the most negative influence on movies and/or moviemaking.

Erin and Paul review a bunch of films with the same title, but very different views of the law enforcement system. First: BAD BOYS and BAD BOYS II, Michael Bay's pair of over-the-top action blockbusters starring Martin Lawrence and Will Smith as squabbling Miami cops whose investigations leave a massive trail of destruction in their wake; then, BAD BOYS, the gritty 1983 drama starring Sean Penn as an unrepentant teenage criminal who is sentenced to a tough juvenile correctional facility after a small-time robbery gone wrong. A suitcase full of drugs, or a bunch of corpses full of ecstasy: which will prevail?

Plus: our quick takes on TOP FIVE, THE SILENCE OF THE LAMBS, STRANGER BY THE LAKE, and IT'S SUCH A BEAUTIFUL DAY.