In a pirate television (pirate television!) broadcast from 1992, a large group of Russian youths in flat top haircuts and leather jackets discuss Depeche Mode's appeal. “It's romantic style,” suggests one with absolute assurance, “it's music for the lonely.” It is just one touching, funny moment in a film packed with them, but it also sums up what The Posters Came From The Walls is about. This “music for the lonely” by a band of awkward blokes from Basildon has brought this group of young people together, as it has all the legions of devoted lovers of the band that we see throughout the 58 minutes.

Looks can be deceiving. The first thing you should know is that Richard Kelly's third film isn't really about the box at all. It's more about what's inside, which is a big red button. The place is suburban Virginia and the time is 1976, for no reason I can fathom other than this was the heyday of the paranoid conspiracy thriller and Kelly fancied giving us the heebie-jeebies with some truly terrifying 1970s wallpaper.

The porn star Sasha Grey - turned mainstream actress in Steven Soderbergh's new film - is a bit better looking than the schlubby, chubby hero of The Informant!, also directed by Soderbergh and released just two weeks ago (click here for our review). More attractive also than the unkempt and ultra-hirsute Che Guevara in SS's epic diptych about the Cuban revolutionary.

A filmgoing acquaintance has personally drafted a set of guidelines to increase her chances of a good time at the cinema. It’s a fairly hardline set of strictures. No sequels, for one. Not to mention the ban on cartoons. And in the most random cull, she will see no film with a two-word title in which the first word is “The”. It’s by no means a foolproof system. She gets to miss The Godfather on rule three and The Godfather 2 on rule one. The Godfather 3 is additionally outlawed under rule two.

Low-budget horror movie, comprising supposedly "found" video footage depicting freaky supernatural events...  it's Blair Witch 2! Indeed, writer/director Oren Peli has taken discount film-making to new extremes, using his own home in San Diego as his sole location, restricting the cast to five (I can't even remember the "Girl on Internet" mentioned in the cast list), and bringing the piece home for a ridiculous $15,000.

How do you make a road movie set in several European countries for just £1million? Set it inside your lead character’s head and use strikingly inventive visual imagery to conjure a world full of the weird and wonderful, that’s how. And if the previous sentence rings a bell for The Mighty Boosh fans, it’s because Paul King, the BBC television comedy’s director, wrote and directed Bunny and the Bull, his first feature. He shot the film entirely in studios in London and Nottingham, and he tells the story with the kind of richly detailed, dreamlike shots that Boosh fans will instantly recognise.

They're back! Bella Swan and Edward Cullen (otherwise known as Kristen Stewart and Robert Pattinson) are once again smooching on a screen near you. I turned up one hour early for a showing of the new Twilight movie, and the damn thing was already sold out. Which suggests the film will do every bit as well as, if not better than, its predecessor, which made $383 million worldwide.

If you stick with the Coen Brothers' new film until the end of the final credit crawl, you will notice the legend, in small print, "No Jews were harmed in the making of this motion picture." I wouldn't be so sure: they certainly put their hero through the trials of Job. With a title like that, it ought to be a comedy, but the Coens customarily keep a protective, ironic distance from their fictional creations, and so you never really quite know where you stand with them. Still, A Serious Man may be their most personal, most revealing movie yet.

When a film shoot is in trouble, with actors dying on set, the heavens opening and other acts of God putting a spanner in the works, it’s usually a gigantic directorial ego which hauls the troubled production over the line. You think of Michael Cimino’s Heaven’s Gate, of Coppola’s Apocalypse Now and above all Herzog's Fitzcarraldo, all films characterised by epic folie de grandeur and flirtation with insanity. But no film, surely, has ever been quite so divorced from reality, in almost every sense, as L'Enfer. For a start it was never made.