"The night has its price," mysterious blonde Jenny Wright tells Adrian Pasdar's hapless Oklahoma farm boy before giving him a love bite and dragging him off on the road with her Mansonesque 'family' of white-trash serial-killer vampires—headed by a fantastic, dead-eyed Lance Henriksen. Kathryn Bigelow's genre-bending mix of horror, western and Southern gothic drags blood sucking into the modern world. One of the best horror movies of the last 20 years.

Handsome widescreen digital transfer for one of Sam Peckinpah's most underestimated films, 1975's angrily prescient satire on corporate America, whose ultra-cool surface belies the roiling fury at its bleak and bitter heart. James Caan and Robert Duvall are cynical operatives for a San Francisco-based intelligence agency, doing jobs too dirty even for the CIA. Early on, Caan is crippled by gunfire in a bloody double-cross and 'retired' from the company.

Abel Ferrara's excoriating study of how a man wallowing in his own filth at rock bottom finds the way to salvation. In an utterly naked performance as the corrupt, drug-addled, self-loathing New York cop unwillingly turned around by the rape of a nun, a desperately committed Harvey Keitel goes all the way. Then keeps going.

Funnier than it has any right to be (and co-written by the Austin Powers chaps), this gives Eddie Griffin a chance to shine as a superhero who's "funky, sexy and proud to be black". A cross between Shaft and James Brown (who cameos), he'll save the world from The Man as long as it doesn't mess with his afro. Denise Richards distracts him as White She Devil. Get on up.

Two Ethan Hawke films. In Richard Linklater's Tape, Hawke's a drop-out, returned to his home town to confront arty high-flier Robert Sean Leonard over old girlfriend Uma Thurman. Confined to Hawke's motel room, it's a pressure cooker. Hawke directs the digitally-shot Chelsea Walls, set in the timeless New York hangout. A good attempt at apeing the kind of meandering independent movie that appeared in the late '60s—but just as trying. Great cast of chums, though, notably Little Jimmy Scott (singing "Jealous Guy") and Kris Kristofferson (trying to be Hemingway).

Shaving a hefty 75 minutes off Tarkovsky's original (and ponderous) 1972 sci-fi classic, director/writer/cinematographer/editor Steven Soderbergh delivers a tight, punchy fable about a crippled space station, a glowing planet, a terrified crew, a lonely psychiatrist (Clooney) and the memories of loss that bind them together. The moods here are both melancholic and thought provoking, while Soderbergh regular Cliff Martinez's lightly tintinnabulating score is utterly beguiling.

Though opening with a rocking Trainspotting-style intro and plenty of Tarantino-type cult film buffery, Bleeder gradually morphs into a truly horrifying psychodrama. Kim Bodnia delivers a stunning performance as reluctant dad-to-be Leo whose frustration begins a cycle of sickening abuse and ingeniously cruel revenge on the grim and seedy streets of Denmark.

Inexplicably coolly reviewed, this Michael Caton-Jones thriller boasts Robert De Niro's best performance in years. As a New York detective estranged from his son, he's distraught when his boy (James Franco) is prime suspect in a case he's breaking. Frances McDormand's excellent as Bob's girlfriend; Long island is a lost Atlantis. A fine film. DVD EXTRAS: Commentaries by writer and producer, Caton-Jones short Mark Of A Murderer.

Depressing study in madness, memory and murder from David Cronenberg, with Ralph Fiennes, recently released from a mental institution, setting up home in a halfway hostel in London's East End close to where he grew up, and the scene of a massive childhood trauma. Despite some typically creepy Cronenberg moments and universally impressive performances, the plot's predictable, and the relentless bleakness wears after a while.

In Alexander Payne's wickedly mordant satire, newly-retired Warren Schmidt is forced to acknowledge the sheer empty horror of a wasted life that has left him with a ghastly marriage to someone he no longer recognises as the woman he fell in love with, a neurotic daughter who's about to marry an hilariously useless water bed salesman and a past he can't remember because in all the years now behind him he did little of merit and nothing of note. Dysfunctional families are currently all the rage, but About Schmidt has a dark individuality and coruscating comic edge that makes it uniquely compe