Film Forum enters week two of its comprehensive trib to master filmmaker Yasujiro Ozu with a pair of the auteur's best. THE END OF SUMMER

Film Forum's Kaiju-sized tribute to the career of master filmmaker Yasujiro Ozu finishes up its first week, and is nowhere close to being over.

Film Forum's definitive trib to Yasujiro Ozu is only getting started, today offering a 2-fer of the cinematic sensei's AN INN IN TOKYO and THE ONLY SON.

Jacques Rivette finally got to join the ranks of his Nouvelle Vague-creating Cahiers Du Cinema cohorts with his 1961 debut PARIS BELONGS TO US, begun while Truffaut's THE 400 BLOWS and Godard's BREATHLESS were mere ambitions in 1958 and screening today as part of MoMA's ongoing Auteurist History of Film series.

The Nitehawk Cinema in bustling metropolitan B-Burg offers up vastly different versions of Sci-Fi filmmaking at opposite ends of the little hand today. Brunch brings a screening of Mel Brooks' STAR WARS lampoon SPACEBALLS, while midnight offers Stanley Kubrick's pensive meditation 2001: A SPACE ODYSSEY.

Francois Truffaut's fictional alter ego, irrepressible scamp Antoine Doinel, suffers childhood's 400 BLOWS as part of MOMA's ongoing Auteurist History of Film series. Truffaut's debut pretty much kicked off the Nouvelle Vague, and remains perhaps the most knowing, and haunting, depiction of childhood the cinema has ever offered.

Jean Gabin and Bourvil transport a black market butchered PIG ACROSS PARIS under midnight's cover in occupied France in Claude-Autant Lara's ink-black farce. Last day to catch this gem in its newly restored DCP at the Village East Cinema. Chose it already, so I pass it up as today's Pick in favor of a different tale of Parisian austerity.

There was a point at year's beginning, after shaking off the damage incurred from one too many New Year's bash attended, when we surveyed our then-present circumstances and took stock of the blight that was January 2013. It was an unforgiving time, ravaged by weather inclement and dispositions cantankerous, and some among us felt it would never end. A few of us, anyway, felt that it would never really end. Okay I amongst us felt it would never really ever friggin' end.

Ted Kotcheff's THE APPRENTICESHIP OF DUDDY KRAVITZ featured rising star Richard Dreyfuss in his first lead, scheming, schlepping and kvetching in pursuit of his dream; lakefront property. The eclectic filmmaker had already directed an earlier TV production of ex-roommate Mordecai Richler's novella, but he didn't have his ultimate Duddy til he cast the future Matt Hooper, and some say the actor has never been better than these two hours.

Ted Kotcheff's seldom screened and even lesser seen THE APPRENTICESHIP OF DUDDY KRAVITZ merits a whole week at the Cinegeek church on West Houston, Our Beloved Film Forum, in a, if I may say this about a Canadian co-production, SPARKLING new DCP restoration. I don't necessaraily associate the word "sparkle" with our neighbors to the North.