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Feature-length spin-off from the Japanimated sci-fi TV show about a group of bounty hunters in the late 21st century. Here, they're battling renegade bio-terrorist commandos from Mars and a nanobyte virus. Innovative ideas and gizmos a-go-go, and though a tad predictable, its energy keeps you watching.

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.

Beginning as an eye-popping cavalcade of dismemberment, cannibalism and pigs gorging on human offal, this quickly turns into an occasionally amusing attack on the critics of director Lucio Fulci's work, with Fulci himself starring as a horror director wondering whether extended exposure to fake gore has turned him psycho-killer. Demented.

John Carpenter was 24 when he shot one of the most influential films in movie history in just 20 days, on a budget of just over $300,000, for the apparently meagre salary of $10,000, a cut of the profits and his name above the title. Looking back, a quarter of a century on, it was probably the best deal he ever made. After a faltering opening run, Halloween quickly became a critically acclaimed box-office smash that went on to gross over $50 million and spawned a raft of sequels and an entire industry of mostly inferior slasher movies.

If Jim Carrey was suddenly declared God, what would he do? That's the premise, and only the easy, obvious routes are taken. But, as he did in Liar Liar, Carrey makes them funny even if you're determined he won't. Thus he enlarges Jennifer Aniston's breasts and you guffaw like a goon because the man is a comedy giant: you want him to fall on his ass, he does, you laugh again.

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Screenplay by the author Calder Willingham, generic domestics handled by Duvall's Pop and Diane Ladd's Mom, sexual disruptions dispensed by major-outfitted, Oscar-nominated Laura Dern as the teenage housekeeper. Her Rose has an earned rep, but Mom leaps to her defence. Mom's had enough of the South, too. The Button, Lukas Haas, pants and ogles from the sidelines.

Camp Crystal Lake reopens 20 years after the tragic death of young Jason Vorhees and no one is safe from the ingenious butchery. There's no hip hockey mask and few cute one-liners—just a catalogue of slaughter and a neat double-twist ending as director Sean Cunningham attempted to replicate the success of John Carpenter's Halloween.

The latest in the excellent Classic Albums series turns to the Floyd's masterpiece—and given such dubious contenders as Meat Loaf and Judas Priest have already featured, the surprise is that it's taken this long. The hour-plus documentary follows the familiar mix of archive footage (ranging back to the early days with Syd Barrett) and current interviews, in which David Gilmour in particular comes across as hugely entertaining. And what makes it a classic album?

Coens' gangster-movie homage is a dark, off-kilter twister