Starring Daniel Radcliffe as Sam Houser, who's portrayed as the dominant creative mastermind behind Rockstar Games and its phenomenally successful Grand Theft Auto series, The Gamechangers (**) sought to depict legal battles over GTA's violent and sexually explicit content as landmarks in the history of artistic freedom. Rockstar Games didn't approve the film and, having filed a lawsuit against the BBC for trademark infringement, denounced the finished product as "random, made-up bollocks".

Cartel Land opens with a group of crystal meth cooks at work somewhere in the dead-of-night Mexican wilderness. They boast about the quality of their goods: they have the best production equipment, and were even taught their expertise by a visiting American father-and-son team. They know the harm their drugs do, but what, they ask, are they going to do? They come from poverty. If life had gone another way, “We would be like you.”

“Breezy” isn't a word we associate with Ray Winstone. We’re more used to something like “big slab o’ bastard”, the epithet he got (they were biased Glaswegians, admittedly) most recently for his appearance in Robert Carlyle’s The Legend of Barney Thomson.

When The Man with the Golden Arm was released in British cinemas in January 1956, it was given an “X” certificate by the then British Board of Film Censors (BBFC), which excluded those under 16 from seeing it. Cuts were made to scenes showing the details of drug preparation to obtain that category, and it hit screens at 114 minutes. Some violence was excised, too. A 119-minute version was first seen on home video in 1992 with a “15” certificate. Its last home video release in 2007 shared both the certification and the longer length.

Hey, it’s the 1990s – yet again. After high-profile revivals of contemporary classics, such as Patrick Marber’s Closer and Kevin Elyot’s My Night with Reg, here comes, from that edgy decade, a fringe version of the iconic story of Leith heroin addicts, based on the cult book by Irvine Welsh which spawned a classic 1996 film by Danny Boyle, as well as this play, adapted by Harry Gibson in 1994. This version of the in-yer-face drama by the aptly named In Your Face Theatre Company was first seen at the Edinburgh Festival last year. How well has it traveled south?

With The Jesus & Mary Chain reformed and currently touring their epochal debut album, Psychocandy, theartsdesk reaches into its archives to offer up a rare and very extensive interview with lead singer Jim Reid from 2010.

With this year's Cannes Film Festival in full swing, the winner of last year's Best Director prize gets a belated UK release. Heli is the third feature from the Spanish-born, Mexican-raised Amat Escalante, following Sangre (2005) and Los Bastardos (2008). Set in a ravaged town in rural Mexico, Escalante's film shows a country enslaved by the drugs trade, its authorities corrupted and its people living in poverty and fear. By combining compositional magnificence and hard-to-watch content Heli gives us beauty intermingled with beastliness.

Crystal Fairy (or to give it its full, original name Crystal Fairy & the Magical Cactus and 2012) is an endearing curio from odd-couple director and star Sebastián Silva and Michael Cera, who have teamed up for a double-bill of projects: the other one is the psychological thriller Magic Magic, currently scheduled for an April release.

The hip hop music of California has always been deeply stoned, and the wave of instrumental beats that have emerged from LA in recent years have taken this to quite some extreme. The scene around the Brainfeeder collective and Low End Theory club have, in fact, produced some of the most deeply psychedelic music of the 21st century, and Sam Baker aka Samiyam is one of the key figures within that.

Not long ago James McAvoy finished a brutal run as Macbeth, and he’s back in Filth as another manic Scotsman hurtling towards self-destruction. The setting is Nineties Edinburgh, and his character, dodgy policeman Bruce Robertson, has a Machiavellian genius for getting one over on his copper colleagues, until his addiction-fuelled luck runs out, and he comes crashing down. He’s the first-person narrator for most of the story, and though repulsively believable, his grip on the narrative starts separating from reality.