DVD, Blu-ray and TV

Funnier than it has any right to be (and co-written by the Austin Powers chaps), this gives Eddie Griffin a chance to shine as a superhero who's "funky, sexy and proud to be black". A cross between Shaft and James Brown (who cameos), he'll save the world from The Man as long as it doesn't mess with his afro. Denise Richards distracts him as White She Devil. Get on up.

François Ozon places style over substance for this tongue-in-cheek murder-mystery musical—but what style. Gathering Catherine Deneuve, Isabelle Huppert, Emmanuelle Béart, Fanny Ardant and a who's who of Gallic goddesses, the costumes alone make this a fashion icon. That it's also a highly entertaining romp played with boisterous vitality is a bonus.

Wes Craven directed this fairly faithful adaptation of DC's horror comic muck monster: a scientist caught in a chemical explosion in a Louisiana swamp gets transformed into a vegetable superbeing. Sadly, the script's clunky and the make-up SFX are tatty beyond belief—notably, the rubber suit that makes ol' Swampy look like a giant walking turd. Result; a travesty.

Reworked by Claude Chabrol after the death of screenwriter Henri-Georges Clouzot (The Wages Of Fear, Diabolique), L'Enfer sees poor François Cluzet suspect pretty wife Emmanuelle Béart of infidelity then gradually lose it as paranoia and doubt undermine his entire existence. Beautiful, but painful to watch.

Part of a triple DVD pack, this contains footage of German TV show Beat Club, a legendary showcase for the best bands of the era. Its late-'60s archive is now a valuable resource for DVD compilers. Like a visual companion to Uncut's Acid Daze CD given away two issues ago, Psychedelic High features Donovan, Arthur Brown, the Small Faces and The Nice all overlapping with that collection. The Who and The Moody Blues also attend what is mostly a very English psychedelic tea party, although The Byrds, Blue Cheer and Canned Heat fly the American freak flag.

Offbeat Elmore Leonard yarn brought to the big screen by Paul Schrader. Juvenal (Skeet Ulrich) is a stigmatic ex-monk with miraculous healing powers, Tom Arnold is the religious fanatic obsessed with him, Bridget Fonda the nice girl who loves him, Christopher Walken the hustler who wants to exploit him. Nicely satirical about the modern media circus.

The L-Shaped Room is a stagy 1962 adaptation of a Lynne Reid Banks novel about pregnant French socialite Leslie Caron in a London bedsit, and is famous only to Smiths obsessives due to it being the source of the opening sample from The Queen Is Dead. John Schlesinger's 1965 Darling is a key text from the Swinging London canon, breezily and brilliantly skewering vacuous underwear model Diana Scott (Julie Christie) as she seduces her way into wealthy despair.

Inspired by a Bowie gig, Trilogy sees The Cure perform three of their LPs in full over two nights at Berlin's Tempodrom—the classics Pornography and Disintegration plus the more recent Bloodflowers. With the band, as usual, brilliantly lit and the event shot with 12 separate cameras, this is far superior to normal live fare. The music, too, benefits from perhaps the band's strongest line-up. Pornography, originally performed by a trio, here becomes a maudlin monolith, with the ageless Smith somehow reinfused with a bitterness now 20 years old. Thrilling.

Like a title fight between the two greatest actors of their generation, The Young Lions cares less about adapting Irwin Shaw's anti-war bestseller (which it subsequently mangles) than allowing Montgomery Clift's neurasthenic Private Ackerman and Marlon Brando's fey Nazi officer to out-Method each other on camera. Though the two icons only share one incidental scene, their separate contributions are still electrifying.

Belated DVD release for Stephen (Blade) Norrington's flaccid 2001 meditation on the nature of, wince, 'celebrity culture'. Max Beesley, ineffably irritating in Alfie mode, is Billy Byrne, a talentless wannabe whose driving desire for fame sends him on a Hellish Journey™ through London's criminal drug-dealing S&M underworld. Hateful characters, no discernible narrative voice, and hackneyed visuals. A mistake.