Erin and Paul break down the DNA of two films that demonstrate the perils of creating genetically modified women. First: SPECIES, the gynephobic 1995 sci-fi/horror film starring Natasha Henstridge as an alien-human hybrid with a violent mating instinct; then, SPLICE, director Vincenzo Natali's Cronenbergian 2009 film starring Adrien Brody and Sarah Polley as a hotshot husband-and-wife team of genetic engineers who develop a perverse quasi-parental relationship with their latest creation. Sil or Dren: which will prevail?

Plus: quick takes on THE BLING RING, THIS IS THE END, and BEFORE MIDNIGHT.

Paul and Erin review two films about driving long distances, but at very different speeds. First: THE STRAIGHT STORY, David Lynch's change-of-pace 1999 drama starring Richard Farnsworth as an elderly man who embarks on a six-week road trip via riding lawnmower to visit his estranged brother; then, DEATH RACE 2000, Paul Bartel's 1975 dystopian cult satire set in a future version of the United States where the most popular sporting event is a transcontinental auto race in which the competitors score points by killing pedestrians. John Deere or Don Steele: which will prevail?

Plus: quick takes on MUD, MAN OF STEEL, and THE ANGEL'S SHARE.

Paul and Erin review two movies whose titles promise untamed excitement and animalistic passion. First: WHERE THE WILD THINGS ARE, Spike Jonze and Dave Eggers' hipster-friendly adaptation of Maurice Sendak's beloved children's picture-book; then, WILD THINGS, director John McNaughton's gleefully sleazy 1998 thriller starring Matt Dillon as a high school guidance counselor accused of raping teenage nymphets Denise Richards and Neve Campbell. Wild rumpus or sexy three-way: which will prevail?

Plus: quick takes on STAR TREK INTO DARKNESS, BILL CUNNINGHAM NEW YORK, NOW YOU SEE ME, and SOUND CITY.

Paul and Heather review two tales of ambitious young women and their ruthless climb to stage stardom. First: ALL ABOUT EVE, Joseph L. Mankiewicz's 1950 Hollywood classic starring Bette Davis as an aging Broadway star and Anne Baxter as her conniving understudy; then, SHOWGIRLS, Paul Verhoeven's 1995 trash epic starring Elizabeth Berkley as a dancer who schemes her way up the Las Vegas ladder of success, from stripper to star of the Stardust casino's nightly revue. "Fasten your seatbelts, it's going to be a bumpy night," or "Come back when you fuck some of that baby fat off!": which will prevail?

Also: quick takes on season four of ARRESTED DEVELOPMENT, STAR TREK INTO DARKNESS, THE COMEDY, and BEFORE SUNRISE.

Erin and Paul review two films about teenage girls, complicated frienships, and horndog fathers. First: GINGER & ROSA, the new coming-of-age film from writer/director Sally Potter starring Elle Fanning as a budding anti-nuclear activist in 1962 Britain; then, the sequel-spawning 1992 trash classic POISON IVY, starring Drew Barrymore as a scantily clad bleached-blonde temptress who seduces her way into the home of a rich but alienated high school classmate. Protest marches or rain-soaked sex scenes: which will prevail?

Also: short takes on NORWEGIAN WOOD, the FAST AND THE FURIOUS franchise, and REPULSION.

Heather and Paul review NIGHTS OF CABIRIA, Federico Fellini's 1957 Italian neorealist classic starring Giulietta Masina as a streetwalker who retains her optimistic spirit even though life and men seem determined to disappoint her at every turn; and SWEET CHARITY, Bob Fosse's splashy 1969 musical remake of the same story, starring Shirley MacLaine as a lovelorn taxidancer in New York City. A malevolent hypnotist, or an evangelist played by Sammy Davis Jr.: which will prevail?

Plus: short takes on a pair of Les Blank documentaries, CLOUD ATLAS, season two of GAME OF THRONES, THE GREAT GATSBY, and DAMSELS IN DISTRESS.

The power of Christ compels Paul and Erin to review two films about young women being exorcised. First: BEYOND THE HILLS, writer/director Cristian Mungiu's intense drama about two longtime female friends who find themselves at cross purposes at a Romanian monastery; then, THE LAST EXORCISM, director Daniel Stamm's 2010 mock-documentary horror film about a team of filmmakers who set out to debunk the exorcism industry, only to find that the young woman they've chosen as a subject might be possessed by an actual demon. A girl forbidden to wear tracksuits, or a girl forbidden to wear Doc Martens: which will prevail?

Also: listener feedback, and mini-reviews of DARK STAR, PAIN & GAIN, and TO THE WONDER.

Heather and Paul sink their fangs into two ferocious feminist takes on the werewolf genre. First: GINGER SNAPS, John Fawcett's 2000 Canadian cult classic about an outcast teenager searching for a cure for her sister's quickly advancing case of lycanthropy; then, THE COMPANY OF WOLVES, Neil Jordan's dreamlike 1984 Gothic fantasy, in which all the sexual undercurrents in the story of "Little Red Riding Hood" come roaring to the surface. A girl with a tail, or a man with a unibrow: which will prevail?

Plus: mini-reviews of UPSTREAM COLOR and PAIN & GAIN.

Paul and Erin slather on the sunscreen to review two films about college coeds who get more than they bargained for when they travel to Florida for spring break. First: SPRING BREAKERS, Harmony Korine's DayGlo provocation about four girls who discover their inner gangsters after robbing a restaurant in order to finance their spring break vacation; then, WHERE THE BOYS ARE, the iconic 1960 beach-party movie about four girls who each are tempted to lose their virginity during *their* spring break trip to Fort Lauderdale. Skrillex or Connie Francis: which will prevail?

Heather and Paul crank up their speakers for two hyperstylized rock and roll fables. First: VELVET GOLDMINE, Todd Haynes' 1998 tribute to glam rock, starring Christian Bale as a reporter seeking the truth behind the mysterious disappearance of a flamboyant David Bowie-esque pop star; then, STREETS OF FIRE, Walter Hill's 1984 oddity starring Michael Paré as a drifter who returns home to the big city when his rock-star ex-girlfriend is kidnapped by Willem Dafoe and his rampaging biker gang. A magical brooch, or a sledgehammer fight: which will prevail?