Roy Metha captures chance shots of lovers parting in an out-of-season seaside town. Pauline Squibb's girl guide portraits remind us that organised fun still goes on in church halls, but, as Hobson says: "The girls look uncomfortable and somehow isolated from the world around them."Gordon McDonald's Common Complaints shows uncomfortable images in close- up of spots, athletes foot, dandruff and cold sores. This sense of isolation has been one of the century's greatest obsessions, and as we approach the year 2000, the freshest voices in photography are still mulling over the same uncertainties. David Lewis shoots in hospital corridors, documenting the effect that clinical surroundings have on his mind while caring for his wife following her nervous breakdown. Clare Strand's solo show, held in conjunction with "Shine", portrays teenagers dressed up as sexually aggressive Spice Girls.

"Strand" weaves the plastic pop group with real-life sexual awakening.Katrina Lithgow's naked pregnant woman is described by Hobson as "explicitly uncomfortable, yet still beautiful". The one strongly unifying thought emerging from the photographers' work is that young people are anxious about their life and about their place in society's bigger picture. Broader issues regarding the march itself, notably Farrakhan's own homophobia, are completely ignored.HHHRoseanna's Grave (12), Polygram, rental, 19 JanPaul Weiland's picture-postcard comedy follows Jean Reno's endeavours to secure a plot of land in an overcrowded cemetery for his terminally- ill wife, Mercedes. With only three graves left, Reno darts from sunny location to sunny location as he tries to prevent his fellow villagers from popping their clogs. The intention of curator Greg Hobson was to find "new voices": he found them at college degree shows and on the recommendation of "colleagues who are passionate about photography". Photography, we know, is not just a recording tool, but one of our most vital modern art forms. So where is it going now? The Arts Council believes we should find out and has designated 1998 the Year of Photography.

This 12 month-long photofest starts with "Shine", an exhibition at Bradford's National Museum of Photography showing the work of 15 young photographers. A lively, though over-sentimental script is somewhat diluted by the cod "Eetalian" accents and far too much shrugging.HHHHHHH excellent HHH good HH average H poor. Some of these disputes are dealt with movingly, though too many topics are tackled at once - the preaching soon looses its impact as one issue is left unresolved and is abruptly replaced by another. Their disharmony sparks some feisty discussions on issues of white racism, black anti-Semitism and gang warfare, and the bus soon becomes a podium for its passengers' prejudices. To add to the apocalyptic ambience, most of the action takes place in darkness and in driving rain. There is some commendable trembling, gaping, running and screaming from Moore, Goldblum and the rest, though the cast list, which includes "Screaming Woman" and "Unlucky Bastard", suggests that they are merely vehicles for the real stars, the dinosaurs. HHHHGet On The Bus (15), Columbia, rental, 23 JanA gay couple, a delinquent, a Muslim home-boy and a wise old pastor (a commanding Ossie Davis) are just a few of the disparate black men who board a charabanc headed for Louis Farrakhan's Million Man March, a black solidarity rally in Washington.

The digital effects and animatronics are disturbingly realistic - the hordes of Compsognatho swarming their victims, nipping and prodding like Hitchcock's birds, are terrifying. Jeff Goldblum travels to the monster-infested isle to steer his palaeontologist girlfriend (Julianne Moore) clear of danger while a psychotic- looking Pete Postlethwaite leads a merry band of bounty-hunters to capture a T-Rex for a San Diego theme park. The Lost World (PG), CIC, rental, 23 Jan Spielberg's second saurian instalment makes its predecessor, Jurassic Park, look like a reserved anthropological survey This one really is scary. Fish Sale, by Stanhope Forbes (above) hangs in PlymouthPre-Raphaelite master Holman Hunt's Isabella and the Pot of Basil (above) is on loan from the Laing Art Gallery in Newcastle; El Greco's Tears of St Peter (left) was acquired by the Bowes Museum, Castle Barnard, for pounds 8Top: Degas's Jockeys Before the Race (from the Barber Institute of Fine Arts, the University of Birmingham); above, Gustave Courbet's Les Demoiselles de Village (Leeds City Art Gallery); right, The Madonna and Child Enthroned with Saints Peter and Mark and a Donor by Giovanni Bellini (Birmingham Museums and Art Gallery)Top: Stanley Spencer's Sarah Tubb and the Heavenly Visitors (from the Stanley Spencer Gallery, Cookham); top right, Portrait of a Young Man and the Visions of Saint Hubert by Jan Mostaert (Walker Art Gallery, Liverpool); above, Millais's The Black Brunswicker (Lady Lever Gallery, Port Sunlight)Howard Hodgkin's Gramophone (above) and Francis Bacon's Portrait of Henrietta Moraes on a Blue Couch (main picture) are both examples of British art from the 1960s held in regional collections (Swindon Museum and Art Gallery and Manchester City Art Gallery, respectively). Full-price tickets, pounds 7.One of the most famous images of the 19th century, And When Did You Last See Your Father?, by William Frederick Yeames (top), normally hangs in the Walker Art Gallery in Liverpool. It is worth making a detour to a regional collection, for the few undoubted masterpieces, but principally for the unexpected encounter with good minor works always present in a collection of this sort.