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 Here the Mad Monk has been replaced by Robert Powell's mysterious glam-rock psychic healer, who cures the leukaemia-stricken son of venal senator David Hemmings and uses magic to expose the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.

Patchy, visually flashy remake by Neil Jordan of his favourite film, Melville's classic Bob Le Flambeur. Its art-robbery-scam story's all over the place, in truth, but Nick Nolte proves to be a wildly compelling force of nature as he kicks heroin, woos a young girl and beats casinos at their own game, all the while looking like he hasn't slept for a very taxing fortnight.

Insane collision of thriller and farce, with a kidnapping plot played at volume 11 and cast by a person on amyl. Kevin Bacon and Courtney Love are the bad couple, Charlize Theron and Stuart Townsend the goodies. Charlize attacks Kev with a scalpel hidden down her knickers, but is still less raving bonkers than Courtney. Gloriously dreadful.

With untenable Leone motifs and broad comedy caricatures, this final part of Shane Meadows' "Midlands Trilogy" (after Twenty-Four Seven and A Room For Romeo Brass) is a disappointment. Robert Carlyle is solid as the Glaswegian rogue determined to win back ex-partner Shirley Henderson. Yet, despite a re-shot 'dramatic' ending, it feels slight.

Bizarre variation on The Phantom Of The Opera, with Vincent Price as a deformed musician seeking revenge on the doctors who accidentally killed his wife, and achieving it by murdering them in a spectacularly imaginative series of set-pieces. A truly mixed supporting cast (Joseph Cotton, Terry-Thomas) and a memorably stylish approach, with Price on monstrously hammy form.

Utterly demented female assassin action from Korea's Je-gyu Kang, who comes across as the bastard son of John Woo and Luc Besson (without the flair of either). Kang chucks in a load of contemporary political context, which is interesting, but falls victim to the current vogue for assembling your final cut half an hour too long. Enjoyable but overlong and confusing.

A Dogme film in danger of giving a tiring genre a good name, Susanne Bier's love tragedy is deeply involving and intensely moving. When a woman's lover is paralysed in a car accident, she falls in love with his married doctor. Not once in its two hours does the film hit a dishonest note, there's subtle humour, and the acting's exemplary. You'll be tenderised.

This respectful ode to the early days of the US movie industry was the third consecutive box-office flop for Peter Bogdanovich, and the movie that put an end to his wünderkind status in Hollywood. Not fair: Nickelodeon is an accomplished, unjustly-maligned movie very much in the same whimsical period vein as Paper Moon, reuniting the father/daughter team of Ryan and Tatum O'Neal and throwing in an on-form Burt Reynolds. Watch and be charmed.

Finnish director Aki Kaurismäki's maverick reputation is built on a series of inspired, lugubrious comic gems, but this latest film—about a coma victim who wakes up with no memory of his past life—suggests he's in need of a new direction. The film looks terrific, but the gags are mannered and the story twee. Not so much deadpan as dead dull, it's a film about an amnesiac that's appropriately forgettable.

Young Adam's David MacKenzie makes an impressive directorial debut with this low-key but unpredictable thriller about two travellers who stumble across a strange community in the remote Scottish Highlands. It benefits from a nice mix of quirky humour and quiet menace, plus a sprinkling of the supernatural for good measure. Bleak, but still well worth the journey.