For Fans of The Beatles

Peter Jackson's three-part restoration of the Let It Be sessions demolishes every myth about the band's dissolution. What you actually see is four people who are funny, patient, and still creative together under real pressure, working out songs in real time. The rooftop concert at the end is one of the most affecting things in any documentary, and it arrives with genuine dramatic weight because you have spent hours with these people beforehand.

Sgt. Pepper gets the mythology, but Revolver is the more startling record: it moves from the acid-laced Tomorrow Never Knows to the heartbroken Eleanor Rigby to the playful Yellow Submarine without losing its footing. It is the album where the Beatles become the Beatles you think of when you think of them, and it rewards the first listen as much as the fiftieth.

Ray Davies was doing something the Beatles were too globally minded to attempt: writing hyper-specific English social comedy, preserving the village green and the corner shop in three-minute singles while the world around them went psychedelic. The Kinks Are the Village Green Preservation Society is as good as anything in the catalogue, and it was a commercial failure at the time precisely because it had no interest in what was fashionable.

Sam Taylor-Johnson's film about John Lennon's teenage years is better than it had any right to be. It is really a film about the cost of ambition and the damage that precedes art, rooted in Lennon's complicated relationship with his mother Julia. Aaron Taylor-Johnson plays Lennon as someone already difficult, already magnetic, not yet sure what to do with either quality.