A rock'n'roll movie without sex and drugs? Tom Hanks' directorial debut is an anachronism and proud of it. This tale of 1960s teen-pop sensation The Wonders (as in "one-hit") is breezy and good-natured, with Steve Zahn providing most of the laughs. The title tune by The Knack's Adam Schlesinger gets heavy rotation; thankfully it's a Beatle-esque beauty.

Performance-driven crime drama hits the mark

Kathleen Turner stars as peachy suburban housewife Beverly Sutphin, who merrily murders most of her annoying neighbours (and anyone else foolish enough to offend her). Turner's fabulous, and John Waters' black comedy is like a blend of Disney and David Lynch. An utter delight.

Christopher Nolan's '98 DEBUT was made on a non-existent budget over a year of make-do weekend shoots, but introduced a shrewd talent with a unique knack for blow-to-the-solar-plexus storytelling. Its monochrome view of London's murkier nooks and crannies recalls Antonioni, but critics quickly tipped Nolan as the new Kubrick. And how he's delivered since. A lonely, bored wannabe writer semi-stalks random strangers (as 'research') but when a smooth-talking cat burglar turns the tables, he's seduced into a series of break-and-enter robberies.

The definitive Sylvester Stallone performance, full of febrile promise and bull-collar bulk, is this 1978 story (concocted by screenwriter Joe Eszterhas, with nods to Jimmy Hoffa) of Hungarian immigrant Johnny Kovak (Stallone) whose fame as a union builder is compromised by his associations with the mafia. The elegant cinematography from Easy Rider's László Kovács and punchy direction from Norman Jewison are a bonus.

Gabriel Byrne and Julianna Margulies head up a nautical salvage crew who discover a derelict ocean liner that's been missing since 1962. On board is a fortune in gold bullion—and several hundred ghosts. Pure formula—occasionally bizarre and gory, but in the main outrageously schlocky, with Margulies in plucky heroine mode—and comfortingly reliable.

Scorsese's awe-inspiring paean to a city born through conflict

Must-see documentary puts Britpop in wider context

Siouxsie as a punk Monroe? Not quite, for despite the title, she looks more like a goth version of Marlene Dietrich in her pin-stripe suit. The jacket and tie later comes off to reveal a glittering bra as she works her voodoo on aged punks and new hedonists on the Banshees' 2002 reunion tour. Oldies such as "Spellbound", "Peek-A-Boo" and "Happy House" have lost none of their theatrical power and are augmented by one new track, an extraordinary version of The Beatles' "Blue Jay Way".

Philip Kaufman's letter-perfect realisation of Milan Kundera's student classic describes the spiritual transformation of Czech doctor Tomas (Daniel Day-Lewis, mercifully playing a 'real person') from pseudo-existentialist to moral being thanks to the loving idealism of waitress-turned-photographer Tereza (Juliette Binoche). Along the way there's a Russian invasion, an escape to Geneva, and plenty of sex with Lena Olin in a bowler hat.