Everyone loves a villain – more fun to play, watch and steal quotes from than any floppy-haired namby-pamby good guy, and usually prettier to boot. It’s such a shame they always seem to end up getting shot/stabbed/thrown off buildings/drowned/burnt by hot doorknobs (damn you, Kevin McCallister), so we thought we’d round up some of our favourites for a Who’s Who of all the bad guys that really should have won.

Ten years of film all neatly rolled into one awesomely epic list of greats! Feast your eyes on the Top 30 Films of the Decade.

Hurrah for the bloody goriness that is Guy Fawkes day! A proud, dastardly time indeed in our national history, and a great excuse to give children some fire to mess around with. So considering the film world is usually so ready and willing to hijack our most exciting tales, our question is, where are the films to accompany Bonfire Night?

Director Arthur Penn, the man behind Bonnie and Clyde, has died in New York, hours after reaching his 88th birthday. It is the latest news in what has already been a sad week for film, which has also seen the death of Quentin Tarantino’s long-time editor, Sally Menke.

Naughty director Quentin Tarantino has been giving an awful lot of prizes to his mates at this year’s Venice Film Festival…

Independent cinemas are bloody brilliant. Nobody’s wearing a uniform more elaborate than a black t-shirt, the bar has drinks which aren’t carbonated or soft, and if anyone tries to fumble for an Orange Wednesdays text-ticket they’re cast into the outer darkness. Cracking. This week we’ve been to another one – the unique and spectacular Prince Charles.

After the gross exercise in smug self-indulgence that was Kill Bill and the sadly inconsequential tackiness of Death Proof, Quentin Tarantino looks to be back on form in the utterly demented joy that is Inglourious Basterds.

Oh dear. It looks like it’s not only “The Bride” who’s out for revenge when it comes to Kill Bill. Quentin Tarantino is being sued by a man named Dannez Hunte, who claims that major plot-points for the Kill Bill films came from a treatment he submitted to Miramax in 1999.

Whatever happened to Matt Dillon? He was going great guns in the ’90s with Wild Things and There’s Something About Mary, then dropped off the scene with the sort of speed usually reserved for people who, well, died. Turns out he’s now starring in this armoured-car heist thriller from competent (if b-grade) action maestro Nimrod Antal. Maybe he shouldn’t have bothered coming out of premature career retirement though – Armored is predictable, missable and forgettable, floundering in the wake of the action genre’s more intelligent January offerings.

In a brutal scene Bridget of Inglorious Basterd Diane Kruger is strangled and Tarantino insisted on choking the protagonist himself.