DVD, Blu-ray and TV

A triple bill of iconic horror: Boris Karloff's Frankenstein's monster, Bela Lugosi's Dracula and Lon Chaney Jr's Wolfman. Admittedly creaky, these black-and-white chillers from the '30s and '40s still boast amazing gothic sets, mesmerising atmosphere and some riveting performances. More enchanting than scary, the best of them—James Whale's 1931 Frankenstein—appears here in its uncut form.

Timely reminder, in the midst of all the Kill Bill hyperbole, of true balls-to-the-wall Tarantino talent—that sickly mint-green warehouse, those black suits, that red blood, the infectious music, the terrifying Hawksian machismo and, mostly, that dialogue: witty and crude, poignant and allusive, naturalistic and downright poetic. Nothing less than genius.

John Waters' first 'mainstream' film from 1988 was to be the last bow for underground star Divine, on epic form as the mother of the rebellious Tracy Turnblad (Ricki Lake, making her debut), who becomes a dance star on a teen TV show circa 1962 before transforming into a beatnik civil rights activist. Also featuring extraordinary cameos from Pia Zadora, Debbie Harry and Sonny Bono, this is an utter delight.

Exhaustive two-disc release of this superlative restored cut of producer/star Kirk Douglas and wunderkind director Stanley Kubrick's epic tale of the legendary slave-turned-rebel-leader. All together now: "I'M SPARTACUS!"

Return to form for Costner, who directs and co-stars in brutal, blazing western

Stanley Kramer's star-studded 1961 version of the Nuremberg Trials sees Burt Lancaster as a German collaborator, Spencer Tracy as a US judge, and has cameos for practically everyone else: Marlene Dietrich, Richard Widmark, Montgomery Clift and Judy Garland. The latter two, emaciated and tattered, provide unintentionally ghoulish viewing, but the flick itself is a tad worthy.

Possibly the best John Grisham-based flick since The Firm: OK, the rest were lousy, but Gary Fleder rattles this courtroom thriller along with pace and panache, and a stellar cast. Lawyers Dustin Hoffman (anti-guns) and Gene Hackman (pro-his own fat pay cheque) face off as a widow claims damages for her husband's shooting. But jury rigger John Cusack and his moll RachelWeisz are the wild cards. Classy potboiler.

A debut from 24-year-old Jérôme Bonnell that suggests he could well be the heir to Eric Rohmer. The Frenchman boasts a subtle eye beyond his years, as this love story-disguised as a coming-of-age melodrama-slowly develops from The Hairdresser's Husband-style infatuation to genuine insight and intimacy. Olga's chignon is a red herring; it's the pair at the film's heart that you'll watch. And it's some heart.

Jean-Jacques Beineix's 1981 debut is a romantic thriller about a young opera fan who records a bootleg tape of his favourite opera singer. Since she's always refused to be recorded, the tape becomes almost priceless on the black market, with opera fans and gangsters chasing after it. Very French, very stylish, very '80s.

Arguably the Farrellys' best film, though already ageing badly. A bunch of set-pieces (Ben Stiller's zipper problems Cameron Diaz's innovative hair gel) linked by a ridiculous, overlong plot, it gets its big belly-laugh moments right and you tolerate the padding. Stiller's lack of vanity allows him to carry off sketches others would muff.