After every episode of Saturday Zoo [a riotous C4 variety show] I used to read the Duty Log

After every episode of Saturday Zoo [a riotous C4 variety show], I used to read the Duty Log. When I did a routine about legalising drugs, there was only one call, and I was gutted." This is a man whose middle name is Troublemaker. "And," Thomas licks his lips with relish, "we haven't even broadcast yet That makes me feel exceptionally happy. Gordon has decided to slow Hitchcock's classic down to the rate of three frames per second, so the director's craft in mise-en-scene and cutting is made nakedly evident.

The title is erroneous, but 24 Hour Psycho's two special screenings still last a fundament-numbing 18 hours apiece That's more like it. Why let cattle have all the fun? Let's suffer for art ourselves Hayward Gallery, London SE1 to 6 May (0171-960 4242). So far, The Mark Thomas Comedy Product has provoked a complaint to the ITC, the threat of a D-Notice, menacing letters from an eminent banker and two different MPs, and legal correspondence from the Ministry of Defence, a multi-national and a privatised utility. Possibly the strangest concept of the lot comes in the shape of Douglas Gordon's 24 Hour Psycho (below).

Try some of these intriguing prospects: an exhibition of original storyboards, paintings and scripts for Ridley Scott's seminal sci-fi epics, Alien and Blade Runner; a dramatic installation by Peter Greenaway starring five real actors in a glass box; a phantasmagorical film set by Pop-Art genius Eduardo Paolozzi; Disney- inspired paintings by Paula Rego; and an interactive video installation by Terry Gilliam, based around his extraordinary film Brazil. But that's not even the main attraction of Spellbound: Art and Film, which opened yesterday, 100 years to the day since the first screening of a film in Britain. The purpose of this mega culture-fest is to examine the passionate relationship that art and film have enjoyed throughout the century. Twenty minutes long, starring Keith Allen and Eddie Izzard, it's called Hanging Around, and boasts a soundtrack by Pulp, The Pogues, Joe Strummer and Alex James (the cool one from Blur who plays bass with his fringe in his eyes and an insouciant fag drooping from his lips). The litany of famous titles includes Animal Crackers (Sat 2pm NFT1), Horse Feathers (Sat 6.30pm NFT1) and Duck Soup (Mon 6.20pm NFT1).

In the year that Elvis was born, the brothers were enjoying a slap-up Night at the Opera (today 6.30pm NFT1) with pal Margaret Dumont - the film is as good an example as any of the inspired physical comedy, punning wit and impenetrable nonsense that characterises this branch of Marxist philosophy. National Film Theatre, South Bank, Waterloo, London SE1 (0171-928 3232) today to Mon 26 Feb; pounds 5.50/pounds 4.15. Damien Hirst (anagram: Mr Thin Ideas) is a busy old chap. Not content with prowling nocturnally around pastures and sawing unsuspecting cows in half, not even content with directing Blur's video for "Country House" last year, the bloke's gone and made a film. Showcasing all 13 films from the brothers' career, movies on show at the NFT this weekend range from their wildly innovative Paramount pictures to the later, musical outings at MGM. No new toff pop group they, but the insane comedians whose work has entertained and perplexed audiences for more than 60 years. Better known as Marx brothers Groucho, Harpo, Chico, Zeppo and Gummo, the surrealist siblings began work in vaudeville before scoring their first Broadway hit in 1924 with the excitingly titled I'll Say She Is! Four years later the brothers' anarchic humour hit the big screen, and although Gummo and Zeppo quickly disappeared from the family combo, Groucho, Chico and Harpo went on to become cinema legend.

"After he's beaten Mike Tyson."Sandor Szenassy, `Heayweight Portraits', Rocket Gallery, 13 Burlington St, London W1 (0171-434 3043) to 9 Mar. This weekend a Marx retrospective will entirely fail to address questions of common ownership, and focus instead on the philosophical antics of Julius, Adolph, Leonard, Herbert and Milton. "He's an old-fashioned patron, and there aren't many about." The Frazier-Ali paintings ("formally, studies of the male nude'') are now finished and Warren will open their exhibition bout soon in (where else?) Las Vegas "In conjunction with a world title fight Frank Bruno's defence," says Warren, optimistically. They capture the pride and presence of those fighters, and also their vulnerability, their sadness." Warren stumped up what even in the art world is a large sum - six figures - to sponsor Szenassy's greatest ambition, a series of paintings of "the fight of the century", Joe Frazier versus Mohammed Ali in 1971.