Films: January 26 - February 1

Murder, My Sweet (1944) 

Rear Window (1954) 

Hedda (2025) 

Eastern Promises (2007) 

Futsugô na kioku (Previously Saved Version) (2024) 

Inglourious Basterds (2009)

High Society (1956) ///

Murder, My Sweet (1944) Archetypal detective noir sends Dick Powell spinning into dense web of intrigue, beaten, seduced and drugged along the way. Emerging from expressionistic shadows, Claire Trevor provides suitably seductive poison while Anne Shirley shows hope amid blackmailing brutality.

Rear Window (1954) Crafted with elegant, mischievous style that builds voyeuristic tension from confined James Stewart's apartment, sweltering New York summer sets stage for suspicions that neighbor has murdered and disposed of wife. Fashionably determined Grace Kelly investigates amid finely tuned soundscape and witty twists.

Hedda (2025) Bathing in hedonistic indulgences of 1950s British upper class society proves fertile setting for Tessa Thompson's power games, suffocated by husband Tom Bateman and longing for sensual release of writer Nina Hoss. Bracing adaptation maintains brisk momentum without quite penetrating characters.

Eastern Promises (2007) Austere visuals and considered pace dissect plainly structured London thriller as compassionate nurse Naomi Watt's attempt to uncover background to teen who dies in childbirth leads into grip of Viggo Mortensen and Russian mafia. Bracing violence, jolting set pieces, gritty human drama.

Futsugô na kioku (Previously Saved Version) (2024) Robust design and persuasive leads maintain low-key investment as solitary life in future space station unravels when conflicted Yûko Araki discovers scientist husband Hideaki Itô is duplicating her to find lasting love. Misses intensity to elevate narrative reveals.

Inglourious Basterds (2009) Genre wartime fable sees collision of Brad Pitt's misfit, scalping outfit and Mélanie Laurent's vengeful cinema owner in fiery plot to assassinate Hitler and overcome vicious SS colonel Christoph Waltz. Little tension, yet solid production features game cast and knowing, violent set pieces.

High Society (1956) Louis Armstrong sets up lush production and snappy Cole Porter songs as relaxed composer Bing Crosby looks to win back obstinate Grace Kelly before she re-marries while cynical reporter Frank Sinatra revels in Rhode Island luxury. Light involvement features moderate humor and even less dramatic stakes.