The film: There should be laws against people being blessed with as much talent as Spike Jonze. The offbeat director made the world stand up and take notice with Being John Malkovich (1999) and last year's Adaptation - landmark films in which the surreal was made to seem uncomfortably familiar. But he cut his teeth as a music video director, and the 16 clips herein literally explode with originality and ideas: The Beastie Boys are turned into sleazeball 1970s cops, fuzz-rockers Weezer enter an episode of Happy Days and pre-teen 'playas' stand in for Notorious B.I.G. and P. Diddy. The casting is inspired, especially on the two Fatboy Slim videos. Christopher Walken - who was a Broadway dancer before hitting the silver screen - dances up a storm in Weapon Of Choice, while Jonze himself leads the spectacularly untalented Torrence Community Dance Group in the insipring DIY video for Praise You. Preparations for these three-minute spots put some major productions to shame. Jonze's girlfriend, Sophia Coppola, went through rigorous gymnastics training in preparation for the frenetic clip for The Chemical Brothers' Electrobank, and the rappers Pharcyde spent a few weeks with a linguistics trainer learning how to speak backwards for the back-to-front Drop video. Jonze explores some of the themes which would surface in his later work, especially in Malkovich. A dog-headed man tries to fit into his new life in the city in the clip to Daft Punk's Big City Nights, but attracts no attention as he walks the streets carrying a boombox blasting out deafening acid-funk. Jonze has said the videos that came out best were the ones for the artists he loved, and he obviously has a great affinity with some quirky acts, such as Bjork - who was almost nine months' pregant during the filming of It's Oh So Quiet - and grunge gods Dinosaur Jr, who indulge in some violent 'urban golfing' in the clip to Feel The Pain. While Jonze would argue the most important thing is the music, the overall quality of the often challenging sounds he worked with perfectly mirror the high-standard of the eye-popping visual narratives. The extras: Where to start? Three early documentaries - including a witty look at teenage Texan cowboys - commentaries from the bands, unreleased music videos and a 52-page book of interviews and photos ... all superb. The verdict: A testament to what can be achieved when an artist believes 100 per cent in themselves and their vision.