Cool beans! Paul and Erin go into critical first gear over two films about neon colours and very good drivers. First: Ryan Gosling is a Hollywood stuntman by day and a criminal getaway artist by night in Nicholas Winding Refn's cooler-than-cool 2011 action thriller DRIVE; then, Emile Hirsch is a pure-hearted race-car driver who hopes to triumph over the corrupt corporate forces who control the sport in Lana and Andy Wachowski's visually overwhelming 2008 confection SPEED RACER. Bryan Cranston with a limp or a monkey named Chim-Chim: which will prevail?

Heather and Paul pay tribute to the many moods of mainstream cinema's strangest leading man, Nicolas Cage. First: 1995's LEAVING LAS VEGAS, featuring Cage's Oscar-winning performance as an alcoholic movie executive who decides to drink himself to death during an epic bender in a Sin City motel; then, CON AIR, in which Cage plays an unjustly imprisoned former U.S. Ranger whose release from jail is complicated when he winds up in the middle of an insanely complicated hijacking caper masterminded by criminal genius John Malkovich. Leaving Las Vegas, or crashing into the middle of Las Vegas in a jet airplane: which will prevail?

Paul and Erin celebrate Halloween in the company of the most frighteningly untalented director in Hollywood history. First: Johnny Depp and Martin Landau star as a struggling transvestite filmmaker and the washed-up Hollywood legend who becomes his muse in Tim Burton's affectionate 1994 biopic ED WOOD. Then, we look at one of the original films written and directed by Ed Wood himself: GLEN OR GLENDA, his bizarre 1953 plea for tolerance and understanding on behalf of cross-dressers and transsexuals worldwide. Original Wood or imitation Wood: which will prevail?

Heather and Paul review two movies about men who enter the world of modern-day religious cults... and then exit them much the worse for wear. First: Joaquin Phoenix is a troubled World War II vet who enters the inner circle of Philip Seymour Hoffman's L. Ron Hubbard-esque guru in Paul Thomas Anderson's THE MASTER; then, Edward Woodward is a straitlaced cop investigating the disappearance of a young girl on a Scottish island populated by sexually liberated pagans in the original 1973 version of THE WICKER MAN. A man made of wicker or a woman made of sand: which will prevail? 

Paul and Erin take a break from their candlelight vigil to revisit two films inspired by pop music superstars who died violent, untimely deaths. First, SELENA, the 1997 biopic starring Jennifer Lopez as the Tejano recording artist who was shot dead by the president of her fan club at the age of 23; then LAST DAYS, Gus van Sant's meditative, avant-garde 2005 drama, a fictionalized version of the events leading up to the suicide of Nirvana frontman Kurt Cobain. A girl in a rhinestone-spangled bustier, or a man in a tasteful black slip: which will prevail?

Paul and Heather savour some classic cinematic nose trauma as they revisit one of the most memorable and critically admired Hollywood films of the 1970s... as well as the little-discussed sequel that came out a decade and a half later: Roman Polanski's 1974 neo-noir classic CHINATOWN, and 1990's THE TWO JAKES, directed by and starring Jack Nicholson. A switchblade up the nose or a grenade in the hand: which will prevail?

Paul and Erin lounge around the local pool hall, hair greased back and covered in a thin layer of sweat, as they review the two back-to-back film adaptations of S.E. Hinton novels that Francis Ford Coppola directed in 1983. First: THE OUTSIDERS, in which an all-star cast of young Hollywood dreamboats play a soulful gang of "greasers" in 1960s Oklahoma; then, the hyperstylized RUMBLE FISH, in which Matt Dillon plays a restless, none-too-bright young hoodlum recklessly determined to follow in the footsteps of his older brother, a motorcycle-riding local legend played by Mickey Rourke. Stay gold, Ponyboy, or stay black-and-white except for a couple of fish in an aquarium tank: which will prevail?

Heather and Paul take deadly aim at two films about men stalking big game in dangerous environments. First, Willem Dafoe is a loner hired by a shadowy pharmaceutical company to track down the world's last remaining Tasmanian tiger in the moody 2011 drama THE HUNTER; then, Val Kilmer is a railway engineer in turn-of-the-century Kenya who teams up with Michael Douglas to hunt down a pair of relentless maneating lions in the 1996 adventure THE GHOST AND THE DARKNESS. Val Kilmer or violent Kiwis: which will prevail?

Erin and Paul offer their unsimulated opinions on two movies about mammoth money-forging operations. First, a group of Jewish concentration camp inmates are forced to assist a Nazi plot to destabilize their enemies' economies in the 2007 Oscar-winning German film THE COUNTERFEITERS; then, William Peterson is a U.S. federal agent who will stop at nothing—and drive anywhere, in any direction—to bring down Willem Dafoe's counterfeiting operation in William Friedkin's 1985 thriller TO LIVE AND DIE IN L.A. Ping pong in a prison or Wang Chung on the soundtrack: which will prevail?

Paul and Heather return from their week off with a look at two sympathetic cinematic portrayals of straying wives. First: Michelle Williams jeopardizes her marriage to chicken chef Seth Rogen by falling into an affair with the hunky rickshaw driver who lives down the street in writer/director Sarah Polley's TAKE THIS WALTZ; then, Diane Lane risks throwing away her marriage to Richard Gere by embarking on a steamy relationship with hunky Frenchman Olivier Martinez in Adrian Lyne's 2002 melodrama UNFAITHFUL. "Video Killed the Radio Star" or "Richard Gere Killed the Hunky French Book Dealer": which will prevail?