Norwegian psychological thriller which starts slowly but soon has its hooks in you so deep you daren't move. With shades of Harry, He's Here To Help, it involves a couple rediscovering an old friend, but after lust rears its head, death follows close behind. Harrowingly acted by the three leads, unknowns who remind you how clichéd the big names are.

NOBODY DID SUAVE like Cary Grant; few would be stupid enough to try. When a whole way of being is personified that definitively, even a George Clooney looks like a stammering schoolboy in comparison. Grant's worst films are worth watching for his expressions of charm and much-tried patience, but here are some of his best, digitally remastered. In Howard Hawks' Bringing Up Baby, Katharine Hepburn causes his "zoology professor"to lose precious dinosaur bones and a pet leopard.

Johnny Depp excels in highly entertaining Bruckheimer blockbuster

High plains drifter is Clint Eastwood, the nascent director, at his most elemental. He's post-Leone and pre-Josey Wales here, working from a script by Ernest Shaft Tidyman, playing a "squinty-eyed son of a bitch"who saves a small town in the Old West from a sadistic group of escaped convicts. It's a harsh, frequently brutal amorality play. The credits have barely rolled before we're treated to callous multiple murders and a 'consenting rape'scene.

Also released this month... Shining like a beacon in the depressing pre-Christmas landscape of mouldy old video collections and dodgy concert films is Jane's Addiction's Three Days SANCTUARY Filmed by Carter Smith and Kevin Ford on the band's 1997 Relapse tour, it's a fully-realised piece of rock cinema that dramatically transcends the limitations of your average tour documentary.

All four movies from the interstellar belly-bursting-baddie franchise in extended form, plus five discs of extras

In 1999, Beavis & Butthead creator Mike Judge made his first foray into live action with this good-natured satire on the mind-numbing life of the white-collar worker. Ron Livingstone is the drone desperate to escape his corporate existence, whose attempts to get sacked leave a team of troubleshooters convinced he's management material. Jennifer Aniston co-stars. Over-looked, but often screamingly funny.

This marks Tian Zhuangzhuang's return to directing after a nine-year ban by China's authorities. Zhichen visits old school friend Liyan in a bombed-out town in post-war China. Though welcomed by the household, Zhichen's relationships with the family break down when he rekindles a romance with his childhood sweetheart—now Liyan's wife. Exceptional cinematography and sensitive performances are let down by a clumsy screenplay and drawn-out pacing. Shame.

Ten months, twelve pupils, one teacher, one documentarian and 300 hours of footage are mixed and tweaked to produce 100 minutes of gripping observational drama set in a rural French classroom. Here, the avuncular Georges Lopez instructs his students and dispenses wisdom in equal measure, while his soft baritone rolls from day to day, season to season, like the voice of God.

Made between 1930 and 1933, these four films (Horse Feathers, Animal Crackers, Duck Soup, Monkey Business) represent the Marx Brothers in their first flush, prior to moving to Hollywood. Although occasionally marred by musical routines and the over-familiarity of the zaniness, these outings are immortal—the missing link between the lost, tumbling traditions of vaudeville and the surrealist hipster comedy of the present day. Introducing quickfire Jewish wit and an anarchic insolence for authority into the mainstream, these seemingly slapdash movies are cinematic milestones.