A weekly movie series showcasing a variety of films: classics, dramas, romantic comedies, action, and hidden gems. 

This month, classic movies from the 50's, 60's, 70's and 80's have been selected.

June 7 - The Man Who Knew Too Much (1956)
2h (120minutes). Thriller/Drama.
Ben McKenna (James Stewart), an American doctor, and his family stumble into the middle of an assassination plot while vacationing in Marrakech. When his son is kidnapped by the conspirators, McKenna must race against the clock to stop the murder and save his son's life. Stewart, as one might expect, gives a seamless performance as the average man thrown into exceptional circumstances. Doris Day brings a bit of levity and performs the only musical number to appear in a Hitchcock film
 

June 14  - The Apartment (1960)
2h5m (125 minutes). Romance/Comedy/History
An office worker loans his tiny New York City flat to his superiors for their secret romantic trysts and is subsequently promoted for maintaining silence about the affairs, but he runs into trouble when he gets involved with his callous boss' girlfriend. An Oscar winner for Best Picture and Director (Billy Wilder).

June 21 - Vertigo (1958)

(128 minutes). Drama/Thriller/Mystery

VERTIGO is Alfred Hitchcock's haunting tale of deception, madness, and death--a masterful exploration of fantasy and anxiety. John "Scottie" Ferguson (James Stewart) is a retired detective, his career ended by the onset of a paralyzing fear of heights. An old friend, the wealthy Gavin Elster (Tom Helmore), hires Ferguson to follow his wife (Kim Novak), whom, he explains, has grown obsessed with an ancestor of hers. The assignment, however, draws Ferguson out of his comfortable role as observer and into a complex web of intrigue, mingled with the detective's own fantasies and fears.

June 28 - Some Like It Hot (1959)

121 minutes. Music & Musicals/Comedy

Wilder's comic take on the 1928 St. Valentine's Day Massacre finds Lemmon and Curtis as musicians who witness a gangland killing in Chicago and need to get out of town fast. Disguised as women, they join an all-girl band headed for Miami, where Curtis doffs his wig and chases Monroe while millionaire Brown falls for Lemmon's alter ego, Daphne. When confronted with the truth about Lemmon's gender, Brown utters the film's memorable last line - "Well, nobody's perfect."