One of the most gratifying indie dark horses of last year, with writer/director Dylan Kidd giving Campbell Scott the role of a lifetime. As ageing Lothario Roger, getting bitter as he realises his sleazy charms are fading, Scott is dynamic, demanding no sympathy as he educates and corrupts his eager-to-learn-the-ropes nephew. Jennifer Beals and Elizabeth Berkley turn their noses up. Honest to a fault.

No matter how much his music is over-used on crap TV travel shows, there's no denying that DJ Shadow is hip hop's premier auteur. His trademark (pyro)technics signature is all over this live performance from Brixton Academy, June 2002. Performance in this context means a silhouetted, hooded man mixing up a subtle sonic brew in front of some spiffy visuals for 50 minutes, but the crowd lap it up.

Vincente Minnelli's heart-breaking, life-affirming 1944 musical. It's 1903, and as the World's Fair unfolds in their rosy little town, young Judy Garland's family face moving to the Big Apple. One of the great musicals; and as a movie about childhood, it's up there with The Night Of The Hunter and, as a lament for changing times, ranks alongside The Magnificent Ambersons and... The Wild Bunch. Kind of.

A stimulating and intriguing set of classic shorts from the directing Premier League. Early work from Godard, Von Trier, Moodysson, Kieslowski, Moretti and Leconte sits with maverick inspiration alongside Brits like Peter Mullan and one Chris Morris (the BAFTA-winning "My Wrongs"). Three hours plus in total, but each nugget boasts such energy that it flies by. Small is beautiful.

This 1976 adaptation of Jack Higgins' best-selling WWII novel was a fitting late-'70s swan song for John Sturges. Michael Caine leads a band of principled, Nazi-hating German commandos off to invade Blighty on the sly. Robert Duvall, Donald Sutherland, Jenny Agutter and Donald Pleasance join the action.

A potentially tasteless cash-in (given that the makers can't even get the date of his death right on the back jacket), surprisingly this turns out to be an immensely watchable documentary detailing Elvis' tragic demise. The usual suspects from the "Memphis Mafia" line up to share tearjerking anecdotes about junk food and drugs ("he jurst ferkin' lurved 'em!"). Morbidly fascinating.

When kiddie TV host Rainbow Randolph (Robin Williams) is convicted of corruption, the network demands that his replacement be squeaky clean and beyond reproach. Enter Smoochy the Rhino (Ed Norton), who's so 'PC' it hurts. Can Smoochy learn to cope with the sleazy world of TV, or will Randolph kill him first? Despite a strong cast and Danny DeVito in the director's chair, this fails to spark.

In the late eighties that poster adorned every young man's wall, and not just because the French subtitle looked chic. However, those who sneer at Jean-Jacques Beineix's film (here available on DVD only through HMV shops), putting its charm down simply to Béatrice Dalle's deeply erotic mouth (and suchlike), miss the point. Yes, it's visually ravishing throughout (as the pinnacle of the Cinéma Du Look) but it also lives by the true definition of Romantic Art, which has tragic connotations.

Paul Newman, all Texan swagger and mesmerising Marlboro sneers, completely redefines the concept of 'iconic' as the eponymous heavy-drinking, skirt-chasing, joy-riding cattleman and self-declared "cold-blooded bastard" in Martin Ritt's 1962 classic. Able support comes from sultry Patricia Neal, suitably green Brandon DeWilde (Shane) and James Wong Howe's perfect black-and-white cinematography.

An object lesson in filming a gig, this, as Patrick Daughters (director of the Yeah Yeah Yeahs' stunning "Maps" promo) captures The Rapture's nervous energies in long, unfussy, elegant shots. Recorded last Christmas, the quartet still resemble—happily—enthusiastic grad students who've stumbled on the ideal disco/punk hybrid. But Daughters exploits this, making them—especially soulful-eyed frontman Luke Jenner—look at once gawky and iconic.