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This fictitious backstory to the creation of Vermeer's best-known painting looks so impressive, and so precisely mimics the colours the 17th-century Dutchman used, it's a while before you realise it's just a prissy costume drama starring Colin Firth and pouty Scarlett Johansson. A dainty tale of repressed lust, perfectly pitched at its middlebrow audience.

Jean-Pierre Melville's penultimate film, from 1970, is the crime movie's Once Upon A Time In The West, a dark meditation on the iconography of hats, trenchcoats, guns, and the rituals of the heist. Alain Delon is the glacial master thief planning to take down a Parisian jewellery store, though he knows the cops are closing in. A steely, moody piece.

Superior sword-slashing spectacular with powerful performances

The full-length 1989 debut from Hal Hartley (his early shorts justly made his name as an indie legend) is a smartly funny, angularly touching example of his pop-Godard technique. Rebellious teen Adrienne Shelly and enigmatic ex-con (and possible murderer) Robert Burke dare to fall in love as rumours abound in the Long Island setting. Edie Falco supports in this literate, limber love story.

Serious contender for De Niro's greatest ever movie

Catch up with the opening series of Seinfeld co-creator's darkly hilarious sitcom

Tucson's finest bring their unique compression of American musical styles to DVD with a London concert recording

The definitive American indie-lite film from '93, made by a pre-schmaltz Lasse Hallström and starring a young Leonardo DiCaprio, this has an affecting warmth and wit. Like an anti-David Lynch movie, it sells smalltown Americana, via Johnny Depp's harried protagonist, as a confused, idiosyncratic but always humane place. John C Reilly and Crispin Glover provide heavyweight back-up.

To explode a myth: in 1966 Antonioni's first English film was pitched not on the Italian director's vision or its meditations on the interface between reality and fantasy, but on its 'unflinching' portrayal of Swinging London—ie, much nudity. The original trailer, included here, makes that perfectly clear: it was popular because of breasts, not because it asked what 'meaning' meant. And photographer David Hemmings' romps with models and Vanessa Redgrave remain icons of "yeeeah, baby" wish fulfilment for lensmen everywhere.

Sharon's cancer treatment underlies these episodes, producing scenes of poignancy and humour as the family come to terms with her illness. Obviously darker than its predecessor, this also sees a certain loss of naivety, with the Osbournes increasingly aware of good camera moments. The success of the first series has led the teenagers into extreme territory, with Jack, the "man-whore", heading off the rails while Kelly struggles with celebrity.