The Gunfighter • Member Bonus
Our members voted and this month, we’re heading to the Old West with the first western for grownups. Gregory Peck stars in Henry King’s brilliant film The Gunfighter.
Born Yesterday
We kick off our Platinum Performances: The 1950 Best Actress Oscar Race series with the film that took home the Oscar, George Cukor’s Born Yesterday with the hilarious and perfect Judy Holliday.
The Aura
We return briefly to our Ricardo Darín series with a one-off episode, looking at Darín’s second collaboration with writer/director Fabián Bielinsky, The Aura. It’s about an epileptic taxidermist and a casino heist, and absolutely worth tracking down.
The Invincible Six
We wrap up our return to our Seven Samurai Family series with a B-movie that’s pretty bad but oddly still entertaining. It’s one of Jean Negulesco’s final films, The Invincible Six.
Battle Beyond the Stars
We continue our Seven Samurai Family series with a Roger Corman-produced sci-fi that fits the Seven Samurai bill while also cashing in on the Star Wars fever—it’s Jimmy T. Murakami’s Battle Beyond the Stars.
Sholay
We wrap up our Golden Jubilee: 1975’s Pioneering Visions in Global Cinema series with a crossover into our next series—the Seven Samurai Family—with a wildly fun and exuberant film, Ramesh Sippy’s Sholay.
The Super Inframan • Member Bonus
For our monthly member bonus episode, we backflip into Hua Shan’s crazy tokusatsu movie The Super Inframan. It’s frenetic and non-stop, and we had a blast. Check it out!
Dog Day Afternoon
We continue our Golden Jubilee: 1975’s Pioneering Visions in Global Cinema series with Sidney Lumet’s fantastic bank heist gone wrong, Dog Day Afternoon, starring Al Pacino and John Cazale.
Deep Red (Profondo Rosso)
We continue our Golden Jubilee: 1975’s Pioneering Visions in Global Cinema series with Dario Argento’s Deep Red, aka Profondo Rosso, our first dip into Italian Giallo films.
Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
We continue our Golden Jubilee series exploring 1975’s global cinema with Jeanne Dielman, debating how three hours of domestic routine builds to cinema’s most earned ending.