We're still on the road to After Hours and talking about another Allan Dwan farcical comedy, 1945's Getting Gertie's Garter. Sarah and MJ chat about why we're bad at using Letterboxd (ironic considering this podcast started from a Letterboxd list!), where this film unfortunately falls apart, and the perils of trying to turn a silent movie into a talkie.

Is money fake? What even is time? Join MJ and Sarah as they ruminate on these big questions while also talking about 1940s farcical comedy, The Inside Story. This is the first of three companion movies for Martin Scorsese's After Hours, so we talk about its connections to that movie, when is the right time to make movies about big events, and the relevance the movie has to today.

This week Sarah and MJ discuss the under-appreciated Martin Scorsese movie, The King of Comedy. We get into the Joker of it all (unfortunately), the skilful way the film flirts with what is real and what isn't, as well as discussing our own fleeting brushes with internet fame via viral tweets.

This week we're on the very short road to Raging Bull with 1963's companion film, Station Six-Sahara. Opinions on it are split between your LPWM co-hosts, but we've got plenty of ideas about how this film could be improved, why it should be an exploitation film, and why we're both very annoyed with Nicole Kidman.

We've finally arrived at Raging Bull, a strong contender for Martin Scorsese's best film and a first time watch for one of your co-hosts! We discuss the incredible performances, Thelma Schoonmaker's impeccable editing, and the brilliant way Scorsese incorporates religious imagery into this boxing movie that isn't really about boxing.

Our final stop before Raging Bull it's a doozy! Rocco and His Brothers was clearly a huge influence on Martin Scorsese's own boxing drama, but it is also a great, great movie in it's own right. Join Sarah & MJ as they discuss the beautiful brutality of this movie, why sometimes 3 hours movies are okay actually, and finish things off with a quite frankly shocking revelation from Sarah to get you pumped up for the next episode.

Inching ever closer to Raging Bull, this week we talk about 1964's Gertrud, aka the movie that could've been an email. We talk about the pitfalls of adapting a play into a film — as well as those that manage to pull it off — and the crucial element to making unlikeable characters watchable.

Strap in, the slow journey towards Raging Bull continues, and this week we discuss 1948's Force of Evil. We get into the similarities between this and On the Waterfront as well as some of the takeaways Martin Scorsese had for his own films ... beyond just Raging Bull.