De Niro and Scorsese get vocal in new animation

Hilariously over-the-top action-comedy

Julianne Moore thinks they're all out to get her

Sidney Pollack directed, Coppola co-wrote, Natalie Wood, Robert Redford and Charles Bronson star; how come it's so disappointing? A Tennessee Williams adaptation, Wood plays a dreamy but slinky belle in a stifling Southern smalltown boarding house. She falls for golden stranger Redford?then gets left behind. Hard to swallow, but Wood is highly watchable, and the cinematography is exemplary.

Hollywood remake of great French action-comedy

The mother of all bitch-fests

Abel Ferrara's slick 1993 adaptation of Jack Finney's páranoid sci-fi novel about human beings being replaced in their sleep by alien duplicates is the third screen version, and surprisingly good considering the director was compromised by the studio's desperation for a hit. Ferrara relocates the action to a military base, and Gabrielle Anwar and Meg Tilly are among those being menaced. The SFX are gross but impressive.

Slightly crass 60th-anniversary edition of a six-year-old flick?a marketing gimmick that rewrites Spielberg's war record by rooting his movie in 1944, making it a document of the time, rather than a piece of late-20th-century fiction. Though it remains a spectacular, unequalled piece of action film-making.

This Brazilian documentary is based on live TV broadcasts from 12 June 2000, when a one gunman hijacked a commuter bus, enacting his own version of Dog Day Afternoon. Around this tense stand-off, director JoséPadhila interviews victims, eye-witnesses, media and police, probing the hijacker's motives, police vendettas against Brazil's homeless population, and a terminally unjust society.

Compiled, it seems, by lucky dip, but Stage Fright, I Confess, Dial M For Murder, The Wrong Man and North By Northwest all explain why he's still The Master. The centrepiece, though, is a special-edition Strangers On A Train (also available separately).