Definitively 'zany' '60s farce, written by Woody Allen, with Peter O'Toole as a Paris fashion editor inundated with willing, eager ladies. This sends him to mad shrink Peter Sellers, who's jealous. Meanwhile, Allen longs for O'Toole's fiancée. Basically an excuse for thousands of hit-and-miss jokes, strippers, much daft over-acting and Ursula Andress. Fantastic.

In a New Jersey backwater, Fin (Peter Dinklage), a dwarf fed up with the way the world reacts to him, moves into the derelict train station he's inherited and tries to ignore offers of friendship from a lonely snack-van man (Bobby Cannavale) and a divorced artist (Patricia Clarkson). Tom McCarthy's gem has something like the drift and precision of early Jarmusch—nothing much happens, except life.

Tony Richardson's 1968 version of the military disaster mirrors the decade it was made in, with a strong anti-war theme. David Hemmings is a young trooper, Trevor Howard his brutal commanding officer and John Gielgud the high-ranking buffoon who orders the attack. An ambitious mess, but still compelling.

Three of Buñuel's berserk best, ridiculing bourgeois values and 'normal' sexuality. Diary Of A Chambermaid (1964) sees Jeanne Moreau as the social climber playing on the fantasies of the affluent. The Milky Way (1970) follows two tramps on a pilgrimage who encounter loopy heretics and priests. Belle De Jour (1967), with Catherine Denëuve, is, of course, the strangest, most haunting erotica of its age.

Takeshi "Beat" Kitano goes blond as well as blind to resurrect the long-running samurai avenger, and has more fun with it than original star Shintarö Katsu ever imagined. Outrageously bloody, it's a kind of syncopated slice-'n'-dice. Sure, Takeshi could have done it with his eyes closed—and does-but it's his most satisfying effort since Hana-bi.

Director Emir Kusturica assembled Johnny Depp, Jerry Lewis, Faye Dunaway, Lili Taylor and Vincent Gallo in the desert and waited for inspiration. Quite what he was on can only be imagined. The movie has its ups and downs, but does boast two prime pieces of Gallo-ana: a reenactment of Cary Grant's escape from a cropduster, and a classic set-to between De Niro and Pesci with Vinnie playing both parts. Mad.

Roger Vadim brazenly raised the bar for unashamed hot nymphette action with his landmark 1956 debut, starring his then wife Brigitte Bardot as a horny St Tropez orphan who drives sophisticated men to violent destruction by rubbing her own breasts, lifting up her skirt and dancing with black men. The Betty Blue of its day.

Comedy punk heartthrob Ashton Kutcher's attempt to go 'serious' isn't as bad as it's been made out, though it owes plenty to every other go-back-in-time thriller. Vague chaos theory allows our boy to change his past and try to realign relationships with his father and his beloved Amy Smart. But things fall apart, and the mysticism's mystifying.

The adventurous Warp offer prize videos from the likes of Chris Cunningham ("Windowlicker", "Come To Daddy") alongside promos by, among others, fellow Sheffield alumni Jarvis Cocker. Lesser known but equally arresting, Jimi Tenor's "Total Devastation" and John Callaghan's "I'm Not Comfortable Inside My Mind" help make this an intriguing alternative history of one of the UK's most far-sighted labels.

Uncut recounted the tale of Fleetwood Mac's improbable reunion at length in May last year (Take 72). Now come two DVD releases commemorating the resumption of rock'n'roll's longest-running soap opera. Live In Boston is a straightforward concert film shot in September 2003 on their first tour in five years. The band clearly miss Christine McVie, the only member of the classic mid-'70s line-up not to participate, and on one level, they offer up stadium rock of the blandest kind.