Derek Jarman's 1979 version of Shakespeare's final play is suitably 'camp' and 'punk', starring Toyah Willcox and Heathcote Williams, and culminating in Elisabeth Welch singing "Stormy Weather" to a bunch of jolly sailors. It's visually flamboyant and wants badly to be sexy, but it's aged dreadfully, and its shock tactics seem a bit silly now.

Gory, sentimental parable about honour and redemption in 'war-torn' Africa, with Bruce Willis' hard-bitten Navy SEALS sacrificing themselves for gorgeous doctor Monica Bellucci and a column of predictably long-suffering refugees. Director Antoine Fuqua—who helmed the terrific Training Day—clearly had higher aspirations, but it's more Wild Geese than Wild Bunch.

No, not the dodgy '80s pop starlet but an even dodgier Heath Ledger vehicle which lasted, ooh, minutes in the cinema. Heath's a priest investigating a possible murder within the murky corridors of the Catholic Church, in a role which has Antonio-Banderasturned-this-down written all over it. Gothic horror ensues, but your stomach will churn for all the wrong reasons.

Director Claire Denis rediscovers her personal vision after the debacle that was Trouble Every Day. With echoes of Godard's Weekend, it's an erotic tone poem in which a woman stuck in a rainy Paris traffic jam picks up a man for a mutually satisfying one-night stand. That's the entire plot, but the auteur's intensity makes every moment telling and tactile.

Slow-burning, eventually gripping Canadian study of gambling addiction starring Philip Seymour Hoffman. His bank clerk commits massive fraud to fund high-roller trips to Vegas and Atlantic City, while girlfriend Minnie Driver's left in the dark. As comeuppance looms nearer, Hoffman's a junkie for one more roll of the dice. Well worth a flutter.

Oh dear. This blue-chip Stephen King adaptation (written by William Goldman, directed by Lawrence Kasdan) starts well but then transforms into an unwatchable mess. One of those terrible movies you just have to see to figure out where it went wrong. Highlights: fine ensemble work from Thomas Jane, Damian Lewis, Jason Lee and Timothy Olyphant. Lowlight: Morgan Freeman's worst ever screen performance.

Angst on the farm in the debut from young French auteur Damien Odoul, a simultaneously harsh and dreamlike account of the coming of age of Pierre-Louis Bonnetblanc, a confused, alienated teen trapped on his uncle's dilapidated spread, where older farmhands introduce him to liquor and mannish ways, with ruinous results. Shot in pristine monochrome, it's a memorable experience, aiming, albeit a little self-consciously, toward a surreal poetry.

A collaborative highpoint for director Wong Kar-Wai and cinematographer Chris Doyle. Happy Together's account of two gay Hong Kongers (Tony Leung and Leslie Cheung) adrift in Buenos Aires is one of the most visually striking films ever made, sadly only denied masterpiece status by the vagaries of Wong's leisurely narrative pacing.

The cult of Michael Moore reaches back to '94 for his non-documentary debut, a satirical comedy about a PR-inspired American war with Canada that pushes all the Moore-ish buttons (rapid-fire jibes about corporate domination, hawkish Republicans, arms proliferation and conspiracy theories) while remaining alarmingly unfunny.

With swashbuckling swordplay now back in style thanks to Pirates Of The Caribbean and Master And Commander, what better time to revisit a creaking, many-times-remade, 1959 classic of the genre? Directed by André Hunnebelle and starring Jean Marais, it throws us into the crazy court of Louis XIV, where the cut and thrust of rivalries and flirtations matches that of the duelling blades.