A monumental 150-minute attempt at tracking China's cultural transition from Mao-ish uniformity to the eccentricities of Deng Xiaoping's quasi-capitalism, Platform (1990) follows four wannabe performers from Fenyang over a long and turbulent decade (1979-1989). Unlike director Jia Zhang-ke's excellent 1997 drama Xiao Wu, Platform has a bizarre disregard for character and narrative coherence.

Brilliant comedy about snobbery and class, set in 1947: with food rationing (and the black market) still in operation, chiropodist Michael Palin and his piano teacher wife Maggie Smith discover the only way to climb the social ladder is to steal a pig. Great cast, but Alan Bennett's screenplay's the real star.

If Easy Rider spelled the end of the hippie dream, then Chainsaw provided the full-blown nightmare. A camper van full of paisley-shirted, astrology-obsessed kids pulls up in rural Texas only to discover Leatherface and his family only too willing to show them some local hospitality. The opening half-hour still remains the most unnerving in horror history.

Audrey Tautou's wide-eyed, innocent expressions are subverted cleverly in this Gallic romance-mystery. Hints of Hitchcock, but a mention of Memento's inevitable, as we see the story first through her eyes, then through those of the object of her amour fou, Samuel Le Bihan. Doesn't soar, but studded with scenes both picturesque and psychologically taut.

Stylish Norwegian thriller, remade last year by Christopher Nolan, whose version is almost eerily faithful to the original. Nolan had the powerhouse cast—Pacino, Robin Williams, Hilary Swank—but this probably has the sharper atmospheric edge, and director Erik Skjoldbjærg builds the tension expertly.

Legendary director's bleak early classic continues to gain respect

There are no headless bats in Black Sabbath—Never Say Die SANCTUARY and Ozzy doesn't even get to shout, "Sharon, how does the DVD work?" But we do find Osbourne in typically headbanging form in a 1978 Sabbath concert that includes "War Pigs" and "Paranoid". No extras, though.

Tom Stoppard directs this 1990 screen version of his ingenious 1967 play about two supporting characters from Hamlet. Stoppard opens up the play's theatrical setting well, and his brilliant dialogue remains intact. Sadly, the two leads—Oldman and Roth—are uninspiring.

The much-praised Hunter-Hunsinger debut was one of last year's best Britflicks, boasting deft characterisation and a staunch refusal to be 'bubbly'. Three stories spin off from a mutual friend's funeral, with Douglas Henshall, Tom Hollander and the sublime Bill Nighy pursuing ill-advised affairs. So subtle it could almost be French!

James Coburn's last film is a well-meaning but hardly unforgettable drama about a father's search across America for the owner of the gun that killed his daughter. The narrative structure is contrived, and although it's only 86 minutes long, you feel yourself growing old watching it.