Troublesome teens? Round them up at random, dump them on a deserted island, armed to the teeth, and force them to fight each other to death. It works brilliantly in Kinji Fukasaku's relentlessly violent and cheerfully tasteless satire, and is surely a public order initiative David Blunkett would approve of. DVD EXTRAS: Loads, including additional footage and alternative ending, Takeshi Kitano interview, filmographies and director interview. (AJ)

Influenced by Spinal Tap as much as it is by cannabis, this 1985 mockumentary was the last thing the duo wrote as a team. Supposedly following them as they record their last album, the best parts are the on-the-couch interviews in which Cheech improvises pretentious answers while Chong tries not to laugh. The songs themselves aren't too funny unless you're baked, but then that's the point.

Not as bad as they said, until you hit the magic realism. Lasse Hallström is safer on the brief establishing scenes, and Newfoundland is refreshingly unfamiliar Both sadsack Kevin Spacey and closed Judi Dench endure a near-Theban family history in rotten weather. Journalists will savour the local paper.

The celebrated 1960 black comedy/horror that inspired the hit Broadway musical. Dim-witted flower shop assistant Seymour (Jonathan Haze) develops an intelligent plant who demands and receives human flesh for sustenance. Directed by Roger Corman in just two days, it's enjoyably trashy with a notable Jack Nicholson cameo.

John Carpenter's 1998 Vampires was a triumph of gonzo monster-mashing with James Woods in full kick-ass mode. The sequel replaces Woods with Jon Bon Jovi, which may explain why Carpenter describes his exec-producer role as "me picking up a cheque". Nevertheless, we get a stake in the mouth, a chest slash, a tongue biting, various beheadings, a punched-off head and two heads bashed together.

The Weitz brother's adaptation of Nick Hornby's bestseller can't help falling into the sugary-sweet Notting Hill trap. Hugh Grant's genuinely impressive as responsibility-free Will, who strikes up an unlikely friendship with weird 12-year-old Marcus and his troubled hippie mum. It's crucial that the brat isn't annoying: but boy, he is. Hornby's jokes and Badly Drawn Boy's songs add some edge.

Poor boy chases rich girl in John Hughes' 1987 teen romance. Essentially, the story's gender roles are reversed from his previous hit, Pretty In Pink, but without the fresh conviction. Still, the period charm and feelgood manner makes for mindlessly enjoyable viewing, while enough solid performances keep things ticking over.

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Divine double bill hits the spot with some superior-quality quiet time