The gods of cinema can't shine on everyone, so some of the films that don't win an Academy Award on Sunday night may be facing their last week in theaters. This could be your last chance to catch Midnight in Paris at the Music Hall and Hugo at the Fallbrook.

Thurs., Feb. 23

The New Beverly is showing a double feature of two of Wes Anderson's most underappreciated films: The Life Aquatic With Steve Zissou and The Darjeeling Limited.

The Coen brothers auspiciously began their career with the coolly detached debut feature Blood Simple, playing tonight on a double bill at the Aero with Woody Allen's capstone film of the 1980s, Crimes and Misdemeanors.

Fri., Feb. 24

Tonight the UCLA Film and Television Archive continues with its Nina Menkes retrospective, screening her feature-length film Magdalena Viraga (the story of an L.A. prostitute who has killed her pimp) and the short A Soft Warrior, made in 1981 while Menkes was a student at UCLA. Menkes will be in attendance for the screenings.

Alex Cox (Sid and Nancy, Repo Man), is guest programming for the night at UCLA's Melnitz Theater. He's chosen two David Miller films: Lonely Are the Brave and Executive Action. Tickets are free and distributed on a first come, first served basis. As an added bonus, Cox's rarely screened Walker (the true story of an American mercenary who became president of Nicaragua) will be shown at Melnitz on Thursday, Feb. 23.

The New Beverly has World War II on the brain, screening Alfred Hitchcock's Foreign Correspondent — a taut thriller featuring Joel McCrea as an American journalist trying to expose nefarious goings-on in London — and Norman Foster's Journey Into Fear, a lesser-known title in the canon of incredible collaborations between Orson Welles and Joseph Cotten. (Also Sat.)

Sat., Feb. 25

Georges Méliès' seminal short A Trip to the Moon has been fully restored to its 1902 colors. It plays tonight at the Aero, accompanied by Serge Bromberg and Eric Lange's documentary The Extraordinary Voyage, which recounts the history of Méliès' film and the process of its restoration. —Veronika Ferdman

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