Already a by-word for meaningfully ambitious technical accomplishment, Alexander Sokurov's epic was shot in St Petersburg's Hermitage Museum in one unbroken steadicam shot. Moving through the rooms, we're tossed across history, from Peter the Great to Catherine the Great. And it IS great: saying much about Mother Russia then and now, but also visually gorgeous.

Low-key Argentinian road movie of sorts from director Carlos Sorin. A lost dog provides the impetus for an old man to amble off on a slow journey: he's not really looking for doggie, he's hunting meaning and a decent way to die. New friends shuffle about and there's much sentiment which would be panned if this was a Hollywood flick.

A handsomely filmed 1976 comedy adventure from a Wilbur Smith novel set in Africa during WWI, Shout At The Devil fails to register. True Blue Brit Roger Moore hooks up with alcoholid Lee Marvin, and they take on the German Navy. Explosions follow. Marvin hams outrageously.

The year is 2029, the city is Hong Kong, and the subject is a semi-naked cyborg supercop Major Kusanagi (Atsuko Tanaka). She's an animé fanboy's wet dream with improbably pert buttocks, muscular breasts, pneumatic nipples and a penchant for quoting Corinthians while questioning the nature of 'self' and simultaneously pursuing a mastermind cyber-hacker. Sublimely realised, intellectual ponderous, cheesy fun.

Beware: this re-release of Ivan Passer's neglected 1971 movie comes billed as "starring" Robert De Niro. In fact, Two Oscars Bob, then unknown, has little more than a bit part, as a cop hassling real star George Segal, in one of his best performances as a bottom-rung junkie stealing through a wintry New York to feed his habit. Czech Passers' first US movie combines black comedy with bleakness and a nicely shabby feel which, though not entirely successful, points toward his best film, Cutter's Way.

The 2003 Oscar-winner as Best Foreign Language Film, this sees a German-Jewish family flee to a farm in Kenya to escape the rise of Nazism. Naturally, problems abound as the rural life turns tough, relationships disintegrate, locusts swarm and so do anti-Semites. Viewed through a child's eyes, the importance of each event is intensified, making for a visually impressive and emotionally testing experience.

William Friedkin's thriller casts Benicio Del Toro as a Special Forces killing machine running amok and Tommy Lee Jones as the man who trained him and now has to bring him in. Hokum, basically, but the knife fights are the best since David Carradine and James Remar went at each other with some gusto in The Long Riders.

Hideo Nakata, Japan's master of suspense and unease, knocks one out of the park again with this follow-up to his Ring cycle. A neurotic single mother discovers a ghostly rising damp problem in the apartment block she moves in to with her little girl. Gradually, her sanity begins to ebb away. A squelchy study in female hysteria and maternal anxiety, yes, but also a good, old-fashioned spook flick.

This Korean thriller is arrestingly stylised, impeccably directed and occasionally very beautiful, but jeesh, it's nasty stuff. A deaf-mute tries to kidnap a rich man's daughter to pay for his sister's operation. Naturally, it all goes horribly wrong. The torture of a young woman with electrical cables and the blade attack on a family of organ traffickers are especially gruesome, but beyond that, there's a withering examination of urban alienation and loneliness at play.

Six slightly funny films emerged from the Inspector Clouseau franchise through the '60s and '70s: they're not as hilarious as you recall. Peter Sellers is always looking for the humorous nugget, but pratfalls and silly accents do not make comedy gold. The Return Of... and ...Strikes Again are the high spots of the sextet. Nothing outshines Mancini's sexy theme tune.