This 1938 Frank Capra outing may have won an Oscar but its tale of the son of a wealthy family (Jimmy Stewart) looking to buy up the property of Lionel Barrymore’s cheerful brood of eccentrics (who include an improbably youthful Jean Arthur), is over-treacled with Capra-esque sentimentalism. Stewart’s role is underplayed, the plot is slow-moving and the comedic pickings lean.

Paul Verhoeven’s last pre-Hollywood film (from 1983) is a minor classic. Depressed alcoholic writer Gerard Reve (a tremendous, dishevelled Jeroen Krabb

Slick odd-couple blockbuster which sees secret service grandee Anthony Hopkins forced to team up with street-punk Chris Rock in Prague as a nuclear bomb in a suitcase goes up for sale. Jerry Bruckheimer ensures the noisy pace never lets up; an anarchic Rock plays it strictly for laughs and a horizontal Hopkins looks mighty bored. Great stuff, all the same.

Much-emulated screwball comedy, directed by Frank Capra and starring Gary Cooper as the disingenuous rustic type who inherits a $20 million fortune and a new life in New York. There he’s pitted against a variety of shysters, cynics and dodgy lawyers who lend the film its edge as well as material for the underlying homily against urban sophistication. Jean Arthur adds charm as the hard-bitten tabloid hack who falls for Cooper.

Described by its proto-feminist French director Virginie Despentes as an attempt “to seize woman’s true sexuality back from the male gaze”, Baise-Moi is therefore a visceral, explicit re-imagining of the road movie (Thelma And Louise with cum shots), buffered by chunks of jaded ’70s film theory. Too inept to be engaging, too light to be controversial. A mess.

A former Uncut film of the month, shamefully under-promoted by the British film industry. Imaginatively based on the cult BS Johnson novel, it stars Nick Moran as a misanthropic bank clerk who elects to wreak vengeance on society for perceived injustices. A sort of Billy Liar with fire in its belly, it’s intense, inventive and, finally, explosive.

The crowning glory of the Anthology project, this DVD box set features the 10 hours of footage originally seen on TV and video, plus an extra 80 minutes on a fifth disc.

A relaxed Paul, George and Ringo, talking to interviewer Jools Holland, relate The Beatles story from top to bottom with humour, a wealth of anecdote and personal revelation, and a surprising willingness to relive the arguments, the bitter financial battles and the split.

Inter-cut with historic clips of the Fabs in action, this definitive documentary arrives with improved picture quality and stereo, and 5.1 surround sound.

Knebworth 1980 is the last time all six Beach Boys appeared together in the UK. Brian is now a zombie, and Dennis is a mess. Nice harmonies, though, and the songs aren’t bad, either. On Tour is riveting. Cameras track a content 21st-century Wilson on stage and off. Carol Kaye, Pet Sounds bassist, insists he “still has the power to do something mind-blowing” before he performs a new song that is, indeed, mind-blowing.

Sharon Osbourne, reviewing Series One, sighs wistfully to her son: “I wish it was back then, Jack… we were innocent then.” Jack replies: “I think we’ve been robbed of our innocence.”And it was precisely those na

He hasn’t made a record since 1970, but the Syd Barrett legend continues to grow. Narrated by Newsnight’s Kirsty Wark and first shown as a BBC documentary, this serious-minded 50-minute film examines the legacy of the Floyd’s original Crazy Diamond, mostly through interviews with former band members Dave Gilmour, Rick Wright, Nick Mason and Roger Waters. They paint a harrowing picture of Barrett’s disintegration, although the Madcap himself is reduced to a ghost-like presence, seen only in a few flickering frames of archive footage. That it feels like a tribute to someone long dead only emphasises the overwhelming sadness of Barrett’s fate.

A pretty convoluted and derivative 2002 Bollywood outing, ranging over several years and telling the story of Suraj and Komal (Anil and Karisma Kapoor), who are estranged following the machinations of the latter’s snobbish billionaire father. Heavy-handed melodrama and some risible musical sequences, reminiscent of a raunchy ’80s nightmare, try the patience.