OPENS NOVEMBER 14, CERT 15, 102 MINS Ann (Sarah Polley) is 23 and works as a night cleaner. She lives in a trailer home in her mother's backyard, along with two young daughters and an unemployed husband. She also, it turns out, has inoperable cancer, and a matter of months to live. And while on paper that might sound like Terms Of Endearment on a budget, this beautifully judged Canadian picture (produced by Pedro and Agustin Almodóvar) couldn't be further from the mawkishness of a Hollywood weepy. What lifts the film is the powerful, dignified performance from Polley.

Great anti-war movie returns to the big screen

Nothing dates faster than camp, and here The Fifth Element (aka David LaChappelle does Blade Runner), barely six years old, is already fraying around its fluorescent edges. The plot is nonsensical (Gary Oldman's Zorg aiding giant ball of evil etc), the model work is ropey, and the production design very Munchkinland. Thankfully, Bruce Willis' taciturn hero and Milla Jovovich's super-femme still hold firm at the heart.

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.

A film of two halves and dual tones, director Ang Lee extrapolates from Stan Lee's original Marvel comic book Hulk both the dark angst of scientist Bruce Banner and the fluorescent fury of the eponymous monster. So, depending on your taste, you'll either prefer the hi-tech CGI set-pieces, or the low-rent monochrome drama of Nick Nolte and Eric Bana hamming/Hamlet-ing it up as the id-unleashing father and son.

Magic spells, a crystal pendant and eco-friendly robots all figure in this animated new age fable from Hayao Miyazaki (creator of Spirited Away) as two children search for a legendary flying city. Not a patch on the director's later work, and the comedy material is tiresome; still, it's streets ahead of Disney, and the flying sequences are just incredible.

Al Pacino is in workaday Mad Mentor mode (see Donnie Brasco and Devil's Advocate) as the CIA talent scout who lures the brooding, intense™ Colin Farrell into the fold while director Roger Donaldson tries to rekindle memories of his definitive '80s paranoia thriller No Way Out by inserting a screamingly obvious twist into a 'mole in the agency' finale.

The seemingly ageless Chrissie Hynde storms her way through 26 songs on Pretenders Loose in LA EAGLE VISION , recorded at the Wiltern Theater in February this year. The run-in is particularly impressive as she turns the clock back almost a quarter of a century to the band's spectacular debut album with a sequence that includes "Tattooed Love Boys", "Precious", "Mystery Achievement" and the mighty "Brass In Pocket".

You would have thought that Richard Dreyfuss might have analysed his own contribution to the wretched Krippendorf's Tribe. Yet here he is again, hamming wildly from start to fin, as a perennial loser enjoying one startlingly successful day at the races. David Johansen and the adorable Jennifer Tilly provide brief but inspired moments of comic brilliance, but it's dear, dear Dickie's show. More's the pity.

Corporate exploitation, US foreign policy, K-Mart, small-town rednecks, the NRA and Charlton Heston are all in the firing line as shaggy documentarian, and now best-selling author, Michael Moore tackles America's self-destructive gun culture. Mostly witty and irreverent, it's also sporadically profound—see the terrifying slow-mo security footage of the Columbine massacre and Chuck Heston's final broken and bewildered interview.