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Lukas Moodysson's bleak tale of a Slavic girl's suffering

The Omen echoes throughout Simon Wincer's camp but sporadically affecting 1980 re-imagining of Rasputin. Here the Mad Monk has been replaced by Robert Powell's mysterious glam-rock psychic healer, who cures the leukaemia-stricken son of venal senator David Hemmings and uses magic to expose the senator's crimes. It's clunky and dated, but Powell's typically messianic performance smoothes over the cracks.

Gung-ho navy flyboys Willem Dafoe and Brad Johnson, disillusioned with America's half-hearted prosecution of the war in Vietnam, attempt to hurry the conflict to a conclusion by taking it upon themselves to bomb Hanoi. Hilarious macho nonsense from John Milius at his most demented, in other words.

A key tome in the lovers-on-the-lam canon, with uncredited mastershots from a fledgling Martin Scorsese, Honeymoon Killers is the tale of a bloated, psychotic nurse (Shirley Stoler—Divine meets Louise Fletcher), her oily Spanish lover (Tony Lo Bianco) and the various needy, neurotic, half-witted women they deceive and murder. Startling photography, am-dram performances, and deeply misogynistic.

Second serving of highlights and blunders from seminal TV rock slot as it catches up with punk

One of the most revered of Krzysztof Kieslowski's "10 commandments" series, the late director's determinedly bleak parable investigates a pointless murder and a lawyer's subsequent near-existential defence. Out the same year ('88) as A Short Film About Love, its intensity made the Polish maestro a global name.

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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.

Originally re-edited and released in two parts, King Hu's lengthy 1969 spiritual kung-fu masterpiece here appears as the director intended. The first half is slow, as an underachieving artist meets a beautiful damsel in a haunted fort. Then the fighting begins. Less concerned with special effects than the communication of "zen" through the feeling of the film, it's a truly beautiful piece. DVD EXTRAS: Filmographies, director's notes.

There was life after prog for Utopia. After years of hi-tech bombast and electronic freakouts, the band and their music lost ballast. By 1980, they were playing new wave-inflected pop-rock and Beatles pastiches. Bassist Kasim Sulton wears a skinny power pop tie and synth whizz Roger Powell looks like a Buggle on acid. The highpoints are the extremes: Todd Rundgren crooning "Hello It's Me" and "Cliché" alone, and the group in full-tilt cosmic mode for "Initiation".