A punchy and intelligent tale, co-written by Michael Tolkin, about an unethical yuppie lawyer (Ben Affleck) locked in a battle of wills with a troubled divorcee (Samuel L Jackson). Toni Collette and Sydney Pollack lead the heavyweight supporting cast, and director Roger Michell delivers a bracing state-of-the-nation bulletin in the vein of Falling Down.

C Thomas Howell picks up homicidal hitch-hiker Rutger Hauer while driving through the desert and very wisely boots him out of the car at the first opportunity, setting in motion a duel between the two that involves a lot of exploding cars and a huge body count. Utter tosh.

Thirty-one years after its initial US release, Wes Craven's debut retains its power to shock, detailing the worst night in the (short) lives of two teenage girls and the bizarre comeuppance of their tormentors. Dated (and overrated) but worth a look.

Veteran producer Irwin Winkler's 1990 directorial debut, recreating the paranoid climate that enveloped early-'50s Hollywood during the anti-communist witch-hunts. Robert De Niro is the fictitious RKO director watching lives, morals and ethics come apart under the strain. A clear-eyed and heartfelt history lesson, with a Martin Scorsese cameo that's a barely disguised portrait of blacklist exile Joseph Losey.

Claude Lelouch arguably never surpassed this 1966 Oscar-winning romance, which sweetened French new wave experimentation for the global mainstream. For all the heart-tugging lyricism, it's still immensely affecting. Bright Anouk Aimée and brave Jean-Louis Trintignant, both widowed, fall in love as that durable theme tune twinkles away.

Riffing on early David Mamet or Neil LaBute, writer-director Patrick Stettner's superb three-hander anatomises the airless, amoral culture of top-rank executives. In a faceless airport hotel, high-flyer Stockard Channing plays sadistic sex-and-power games with young business rival Julia Stiles and corporate headhunter Frederick Weller. Sharp, astringent, and proof that complex ideas and strong performances transcend even minimal budgets.

Wim Wenders may be struggling to land a gig these days, but this 1977 noir thriller was his big-screen breakthrough. Adapted from Patricia Highsmith's novel (and remade this month as Ripley's Game, see p145) it finds Dennis Hopper for once understated as art dealer Tom Ripley, who persuades dying Berliner Bruno Ganz to become a hitman.

John Milius' deeply personal take on the surf generation of the '60s is everything you'd expect from Hollywood's last great iconoclast. It's a sumptuous visual feast, an epic journey charting the testosterone-packed lives of three surfing buddies (Jan-Michael Vincent, William Katt and Gary Busey) and an unbelievably heavy-handed extended metaphor, as the ebb and flow of the tide is mirrored in our heroes' lives.

Animated accompaniment to this year's sure-to-be-blockbuster Matrix sequels

Giuseppe Tornatore's Oscar-winning ode to cinema revolves around a famous film director returning to his native Sicilian village to attend the funeral of a local cinema projectionist who'd befriended him as a young boy and cultivated his love of film. Pure magic.