Erin and Paul review two key films from the career of Jane Fonda. First: BARBARELLA, Roger Vadim's 1968 erotic sci-fi cult film starring Fonda as an interstellar adventurer whose wardrobe of skimpy futuristic outfits is as huge as her capacity for sexual pleasure; then, THEY SHOOT HORSES, DON'T THEY?, Sydney Pollack's super-cynical 1969 Depression-era drama starring Fonda as a hard-bitten contestant in a physically and psychologically grueling marathon dance contest. "Pretty, pretty, pretty" or "Yowsa, yowsa, yowsa": which will prevail?

Plus: our quick takes on THE DROP, THE ROVER, GOD HELP THE GIRL, and THE IMMIGRANT.

Paul and Erin review two key films from the career of Tom Cruise. First: TOP GUN, Tony Scott's 1986 box-office smash starring Cruise as a cocky navy pilot who must battle daddy issues and by-the-rules superiors while enrolled at an elite training facility; then, EYES WIDE SHUT, Stanley Kubrick's 1999 erotic drama starring Cruise as a doctor who embarks on a dreamlike series of sexually provocative adventures following an argument with his beautiful wife. A doomed friend named Goose, or a doomed friend named Nightingale: which will prevail?

Plus our quick takes on JOURNEY TO THE WEST, THE CAPTIVE, NIGHT MOVES, ELAINE STRITCH: SHOOT ME, and THE STRANGE COLOR OF YOUR BODY'S TEARS.

Erin and Paul review two films starring the late Robin Williams. First: MRS. DOUBTFIRE, the 1993 family comedy starring Williams as a divorced dad who masquerades as an elderly British nanny in order to spend more time with his children; then, ONE HOUR PHOTO, director Mark Romanek's 2002 psychological thriller starring Williams as a lonely photo technician who develops an unhealthy obsession with the seemingly perfect family who are some of his lab's most frequent customers. The unsettling story of an emotionally underdeveloped man who goes to psychotic extremes to get the love he craves... or ONE HOUR PHOTO: which will prevail?

Plus our quick takes on FRANK MILLER'S SIN CITY: A DAME TO KILL FOR, BOYHOOD, THE ONE I LOVE, VENUS IN FUR, and LET THE FIRE BURN.

Heather bids a (hopefully temporary) goodbye to the podcast by discussing two movies about guys who really, really like to steal things. First: PICKPOCKET, Robert Bresson's 1959 arthouse classic starring Martin Lassalle as an inscrutable young Parisian man who supports his meagre lifestyle by lifting people's watches and wallets; then, THIEF, Michael Mann's stylish 1981 neo-noir starring James Caan as a master jewel thief whose dreams of going straight are dashed when he begins doing heists for a powerful Chicago gangleader. Black-and-white realism or Tangerine Dream: which will prevail?

Plus: our quick takes on THE PERVERT'S GUIDE TO IDEOLOGY, THE SEVEN SAMURAI, BAD TIMING, THE ZERO THEOREM, and SIX BY SONDHEIM.

Erin and Paul review two fake autobiographical origin stories from two gigantic pop stars. First: 1984's PURPLE RAIN, starring Prince as a hypertalented, self-destructive young musician struggling to overcome a difficult home life and to find an audience for his scandalous brand of sexed-up R&B dance music; then, 8 MILE, Curtis Hanson's 2002 drama starring Eminem as a dead-broke trailer-trash underdog trying to make a name for himself within Detroit's competitive rap-battle underground. "Let's Go Crazy" or "Lose Yourself": which will prevail?

Plus our quick takes on SNOWPIERCER, GET ON UP, LOCKE, and COHERENCE.

Paul and Erin review two movies about organized big-city street violence, set roughly a century apart. First: GANGS OF NEW YORK, Martin Scorsese's 2002 epic starring Daniel Day-Lewis as a ruthless mid-19th-century crime boss and Leonardo DiCaprio as a young man on a mission of revenge against him; then, THE WARRIORS, Walter Hill's 1979 cult favourite about a street gang trying to stay alive as they travel from the Bronx all the way back home to Coney Island after they are framed for the assassination of a charismatic gangleader. A jar full of human ears, or a guy with soda bottles stuck to the ends of his fingers: which will prevail?

Plus our quick takes on THE GRAND BUDAPEST HOTEL, THE TASTE OF TEA, COLD IN JULY, STAKE LAND, THE CONGRESS, and TWIN PEAKS: FIRE WALK WITH ME: THE MISSING PIECES.

Erin and Paul squeeze into their pointe shoes to review two films that take place behind the scenes of major ballet companies. First: THE TURNING POINT, the 1977 soap opera starring Anne Bancroft as an aging ballet star and Shirley MacLaine as her estranged friend who gave up her ballet career to become a wife and mother; then, THE COMPANY, Robert Altman's 2003 fly-on-the-wall docudrama starring Neve Campbell as a promising young dancer with Chicago's Joffrey Ballet Company. Mikhail Baryshnikov in tights or Malcolm McDowell in a yellow scarf: which will prevail?

Plus our quick takes on WISH I WAS HERE, LUCY, CHEF, THE PRETTY ONE, THE SIGNAL, and Karina Longworth's podcast YOU MUST REMEMBER THIS.

Paul and Heather review two films featuring every highbrow movie fan's favourite lowbrow comedian, Jerry Lewis. First: THE BELLBOY, Lewis' 1960 comedy about the slapstick misadventures of a hapless employee of the luxurious Fontainebleau Hotel in Miami, Florida; then, THE KING OF COMEDY, Martin Scorsese's 1982 dark comedy starring Lewis as a late-night talk-show host and Robert De Niro as an aspiring standup comedian who kidnaps him in order to force the network to put him on the air. Milton Berle playing himself or Tony Randall playing himself: which will prevail?

Plus our quick takes on MELVIN AND HOWARD, LIFE ITSELF, and BIG BAD WOLVES.

Erin and Paul review two versions of the same story of unfaithful wives, double-crossing hitmen, and bodies that just won't stay dead. First: BLOOD SIMPLE, Joel and Ethan Coen's 1984 debut, starring Dan Hedaya as the owner of a Texas roadhouse who hires a sleazy private eye to kill his wife and her love; then, A WOMAN, A GUN, AND A NOODLE SHOP, director Zhang Yimou's slapstick 2009 remake, which transplants the action to a remote Gobi Desert noodle emporium in feudal China. Ceiling fans or paper fans: which will prevail?

Plus: our quick takes on NURSE 3D, MAN BITES DOG, DAWN OF THE PLANET OF THE APES, and GAMBIT.

Heather and Paul review two films that suggest 1982 was a banner year for punk bands made up of young girls. First: WE ARE THE BEST!, Lukas Moodysson's warm-hearted comedy about a trio of school friends and diehard punk fans who refuse to let their lack of musical experience keep them from forming a band; then, LADIES AND GENTLEMEN, THE FABULOUS STAINS, director Lou Adler's cult 1982 film starring Diane Lane as a disaffected teenager whose two-toned hairdo, nihilistic attitude, and see-through blouses briefly make her a rock and roll sensation. "Hate the Sport" or "Waste of Time": which will prevail?

Plus: our quick takes on THEY CAME TOGETHER, THE UNKNOWN KNOWN, and ENEMY... as well as Heather's upcoming directorial debut.