Erin and Paul put the hammer down on two films about long-haul truckers. First: THE WAGES OF FEAR, Henri-Georges Clouzot's 1953 suspense classic about a group of desperate men who agree to drive two truckloads of nitroglycerin across 300 miles of treacherous South American roads; then, CONVOY, Sam Peckinpah's 1978 movie version of the C.W. McCall novelty song starring Kris Kristofferson as an independent truck driver whose conflict with a crooked Arizona sheriff turns him into a reluctant folk hero. Yves Montand covered in oil, or Kris Kristofferson covered in sweat: which will prevail?

Plus: listener feedback and mini-reviews of OCEAN WAVES and OZ THE GREAT AND POWERFUL.

Heather and Paul review two films about naive Americans who travel to northern Africa in search of enlightenment, and wind up lost in the desert instead. First: THE SHELTERING SKY, Bernardo Bertolucci's 1990 film version of Paul Bowles' novel starring John Malkovich and Debra Winger as a married couple who succumb to existential despair during a sojourn in Tangier; then, ISHTAR, Elaine May's notorious 1987 flop comedy starring Dustin Hoffman and Warren Beatty as a pair of deeply untalented singer/songwriters who get caught between the CIA and a band of left-wing freedom fighters during a gig at a Moroccan nightclub. John Malkovich losing his passport, or Dustin Hoffman losing his passport: which will prevail?

Plus: remembrances of Roger Ebert, and mini-reviews of FREE RADICALS and PHIL SPECTOR.

Go sexin' with Paul and Erin as they review two movies about the highs and lows of sex addiction. First: SHAME, director Steve McQueen's austere 2011 drama about a successful Manhattan advertising executive whose appetite for porn and anonymous sex threatens to destroy his career, his relationship with his sister, and his soul; then, A DIRTY SHAME, writer/director John Waters' 2004 comedy about a prudish Baltimore convenience store clerk who joins a cult of sexual fetishists after receiving a personality-altering blow to her head. Michael Fassbender with a giant penis, or Selma Blair with giant breasts: which will prevail?

Heather and Paul impeach the president not just once but twice as they examine two films about the Watergate scandal. First: ALL THE PRESIDENT'S MEN, Alan J. Pakula's 1976 procedural following the Washington Post's investigation into the Watergate breakin; then DICK, director Andrew Fleming's 1999 comedy starring Kirsten Dunst and Michelle Williams as a pair of bubble-brained teenagers who inadvertently set in motion the chain of events that will eventually lead to Nixon's resignation. Robert Redford and Dustin Hoffman, or Will Ferrell and Bruce McCulloch: which will prevail?

Paul and Erin examine two films about men descending into savagery in the Australian outback. First: WAKE IN FRIGHT, the recently rediscovered 1971 Aussie cinematic landmark about a schoolteacher whose overnight stay in a redneck mining town stretches into an extended spree of drinking, debauchery, and kangaroo hunting; then, MAD MAX, George Miller's 1979 action classic, set in the lawless, fuel-starved near-future, about a highway patrolman who becomes the target of a vengeful motorcycle gang. The Yabba or The Toecutter: which will prevail?

Heather and Paul review two movies that peel back the curtain separating our world from the afterlife. First: ENTER THE VOID, Gaspar Noé's 2009 head-trip epic about a young drug dealer whose spirit restlessly roams the streets of Tokyo after he's shot to death in a nightclub men's room; then, FLATLINERS, Joel Schumacher's 1990 thriller starring Kiefer Sutherland, Julia Roberts, Kevin Bacon, William Baldwin, and Oliver Platt as a group of medical students whose clandestine experiments with near-death experiences turn out to be even more dangerous than they look.

Paul and Erin review two movies whose titles promise to show us creatures on the very high end of the attractiveness scale. First: BEAUTIFUL CREATURES, Richard LaGravenese's new film version of Kami Garcia and Margaret Stohl's YA fantasy novel about a teenaged Southern misfit whose budding romance with a new classmate is hampered by the fact that she comes from a family of witches. Then, HEAVENLY CREATURES, Peter Jackson's 1994 true-crime drama starring Kate Winslet and Melanie Lynskey as a pair of New Zealand teenagers whose very intense and obsessive friendship leads them to commit an act of cold-blooded murder. The Book of Moons or the Kingdom of Borovnia: which will prevail?

Heather and Paul look at two films about people attempting to make that awkward transition from platonic friends to porno-video co-stars. First: HUMPDAY, Lynn Shelton's 2009 mumblecore comedy about two estranged heterosexual male buddies who make a pact to have sex with each other on camera as their entry in an amateur porn contest; then, Kevin Smith's raunchy 2008 comedy ZACK AND MIRI MAKE A PORNO, starring Seth Rogen and Elizabeth Banks as two cash-strapped roommates who hatch a scheme to produce and star in their own X-rated video as a means of digging themselves out of debt. An erotic art project or SWALLOW MY COCKACCINO: which will prevail?

Paul and Erin don their top hats to review two films that take place backstage at the most famous and scandalous nightclub in turn-of-the-century Paris. First: FRENCH CANCAN, Jean Renoir's 1955 musical comedy starring Jean Gabin as the perpetually debt-ridden creator of the Moulin Rouge and Françoise Arnoul as the beautiful laundress he makes into a star; then, Baz Luhrmann's eye-popping 2001 extravaganza MOULIN ROUGE!, starring Ewan McGregor as a starry-eyed young poet and Nicole Kidman as the dying courtesan and cabaret actress who inspires him. A cameo from Edith Piaf, or a cameo from Kylie Minogue: which will prevail?

Paul and Erin take a magical voyage into a pair of movies about babies being abducted into surreal fantasy worlds. First: THE CITY OF LOST CHILDREN, the 1995 film from Jean-Pierre Jeunet and Marc Caro starring Ron Perlman as a circus strongman who must rescue his baby brother from having his dreams harvested by a rapidly aging mad scientist; then, Jim Henson's fondly remembered 1986 fantasy LABYRINTH, starring Jennifer Connelly as a teenaged girl who must set things right after inadvertently allowing *her* baby brother to be kidnapped by David Bowie's Goblin King. A brain in a fishtank, or a bog of eternal stench: which will prevail?