(David Gordon Green, US 2008, 111 min.)

Join us for this special sneak preview showing of the latest comedy from the guys who brought you Knocked Up and Superbad. Seth Rogen (who also co-wrote the screenplay) stars as a lazy stoner who, along with his dealer buddy (James Franco) witnesses a murder and finds himself on the run from a crooked cop (Rosie Perez) and a dangerous drug lord (Gary Cole). Director David Gordon Green (George Washington, All the Real Girls, Snow Angels) will answer audience questions in a post-screening discussion via speakerphone. Tickets: $8, $6 members and students. Advance tickets now available by following the link below, the George Eastman House museum admissions desk, or at the Dryden Theatre box office during regular operating hours. No Take-10 tickets or passes.

Tickets are still available, but only for walk-up purchases starting at 7:15. Tickets are no longer available by phone or online.

(Milos Forman, US 1979, 121 min.)

Gerome Ragni and James Rado’s “Tribal Love Rock Musical” goes from ’60s Broadway to ’70s big screen under the capable direction of Czech émigré Forman. Twyla Tharp’s energetic choreography infuses a string of hit musical anthems including “Aquarius,” “Let the Sunshine In,” and the title track.

(Milos Forman, US 1975, 133 min.)

Forman’s unforgettably moving, funny, and multi-Oscar®-winning adaptation of Ken Kesey’s 1962 novel about life inside a mental institution stars Jack Nicholson as the charming con man R. P. McMurphy, who meets his match in Nurse Ratched (Louise Fletcher). A newly preserved 35mm print from the Academy Film Archives will be shown.

(Blake Edwards, UK/US 1978, 99 min.)

Underworld leader Philippe Douvier (Robert Webber) plots to have Clouseau killed to prove he still wields power. After an unsuccessful attempt on his life, Clouseau feigns his own death and, along with his sidekick Cato (Burt Kwouk), investigates the plot on his life. Meanwhile Dreyfus, learning of Clouseau’s death, miraculously recovers from his psychosis. Revenge also stars Robert Loggia and Dyan Cannon.

(Blake Edwards, UK/US 1976, 103 min.)

In the most surreal and cartoonlike of director Edwards’ divinely inspired farces, Peter Sellers returns for the fourth time as Inspector Jacques Clouseau, whose French accent is increasingly silly and indecipherable. Clouseau’s former boss, Dreyfus (Herbert Lom), who has finally succumbed to madness, assembles a team of the world’s greatest criminals. They kidnap an eminent scientist and build a device capable of destroying the world; they threaten to do so unless someone delivers the corpse of Clouseau to Dreyfus. Clouseau, with a number of assassins on his tail, must find and stop Dreyfus before it’s too late.

(LÁSKY JEDNÉ PLAVOVLÁSKY, Czechoslovakia 1965, 88 min., Czech/subtitles)

Forman’s breakthrough film, a comment on the perils of totalitarianism, follows the everyday life and sexual fumbles of a teenaged girl in a dreary town. A cornerstone of the Czech New Wave, the film grapples with the realities of injustice and disillusionment, yet its international popularity was due in part to the tenderness and optimism of its outlook.

(William Friedkin, US 1971, 104 min.)

Gene Hackman won an Oscar® as “Popeye” Doyle, a loud-mouthed New York City cop obsessed with breaking a drug ring masterminded by a European crime lord (Fernando Rey). The top-notch performances (including the late Roy Scheider as Popeye’s partner) and a hair-raising chase scene helped earn this film the Oscar® for Best Picture. Bonus: Roy Scheider stars in the amazing chase sequence from Philip D’Antoni’s The Seven-Ups (1973).

(Walter Hill, US 1978, 90 min.)

then at 8:45 p.m. VANISHING POINT

(Richard Sarafian, US 1971, 107 min.)

In The Driver, an homage to film noir and the heist thrillers of Jean-Pierre Melville, Ryan O’Neal stars as a supercool getaway driver who seeks help from Isabelle Adjani while playing cat-and-mouse with determined cop Bruce Dern. Then, in the existential Vanishing Point, Barry Newman stars as a society dropout driving from Denver to San Francisco at such high speeds that police in three states become obsessed with capturing him. The camera work and driving stunts in both of these films will take your breath away. Two films for one admission price.

(Blake Edwards, US 1964, 101 min.)

“Give me ten men like Clouseau, and I could destroy the world!” says Chief Inspector Dreyfus (Herbert Lom), desperate to remove Peter Sellers’ legendary bumbling French detective from the murder case the department is struggling to solve. Director Edwards gives Sellers’ genius free rein in some wildly overthe- top gags and brilliant improvisational moments. A Shot in the Dark also marks the Pink Panther series debuts of Lom as the twitchy, driven-to-homicide Dreyfus, and Burt Kwouk as Clouseau’s manservant and judo partner Cato.

(Peter Yates, US 1968, 113 min.)

Steve McQueen, in his quintessential role, is icy-cold San Francisco detective Frank Bullitt. Assigned to protect a Chicago hood turned stool pigeon, Bullitt gets wise to a double cross, leading to maybe the most exciting chase sequence in movie history. Bonus: spectacular chase and crash footage from the McQueen “vehicles” Le Mans (1970) and The Hunter (1980).