After a week off, holed up in the Cotswolds since you ask, it's been a busy time for film screenings. I went to see The Assassination Of Jesse James By The Coward Robert Ford on Tuesday, this time on a proper 35mm print rather than the beta tape I saw a few months back, and tonight there's Wes Anderson's The Darjeeling Limited that I'll hopefully blog about tomorrow.

Last night, though, our album reviews editor John Robinson and I went to see American Gangster, at close to three hours as epic as it gets, with Russell Crowe and Denzel Washington manfully chewing chunks out of the scenery in late Sixties/early Seventies' New York.


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I went to see Atonement over the weekend -- and a very fine film it is, too -- and before the film started, the cinema showed trailers for Michael Winterbottom's A Mighty Heart and The Kingdom, produced by Michael Mann. These are Hollywood's latest attempts to engage with George Bush's misadventures in the Middle East and the fearsome War On Terror.


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Occasionally, in a quiet moment, I might find myself reflecting on the demise of the Western. At a recent preview screening for 3.10 To Yuma – starring marquee names Russell Crowe and Christian Bale, no less – the attendance was barely into double figures.

I wonder, then, how the brilliant The Assassination Of Jesse James By The Coward Robert Ford will fare?


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Our correspondent at the Venice Film Festival saw Todd Haynes' Dylan film I'm Not There this morning. Here's our exclusive report.


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I mentioned in yesterday's blog about how much of a fan I am of Near Dark, Kathryn Bigelow's vampire noir that celebrates its 20th anniversary this year. To be honest, it's been flapping round by brain all day like a rabid bat, so I thought why not write about it...


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While my compatriots are at Reading Festival, I've been spending a quiet weekend either enjoying the sun on London Fields or watching the typically variable output terrestrial TV has to offer. It's a dirty job, and all that.


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Regular readers of UNCUT will recall that Cronenberg's last film, A History Of Violence, was our Film Of The Year in 2005. This, set among the Russian mob relocated to London's East End, is something of a companion piece, and further proof that Cronenberg is enjoying a third act revival in his fortunes.


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Barely off site, but here’s how it was. Stephen Malkmus And The Jicks just wound it up on the main stage with the new addition of Sleater Kinney’s Janet Weiss behind the drum kit, and with a few choice words to some of their UK friends: “We endorse The Cribs, but not fucking Kasabian”.


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Green Man. It’s all sylvan meadows, scampering deer, Hobits dancing in secluded woodland glades. Oh, OK, like all festivals this summer it’s a big sheet of grey mud and a big sheet of grey sky. But Green Man is different.


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It's raining at the moment and the press screenings have temporarily halted to allow the local cinemas to let real people in to see normal movies, like The Bourne Ultimatum. I thought I'd take advantage of this lull in the proceedings to catch up with what I've seen.


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"Kiss Tomorrow Goodbye": Cosimo Matassa 1926-2014


Among my post last week, I received a nice care package from Ace Records that included one quite weird Duke Ellington album ("My People"); Volume 3 of their "Where Country Meets Soul" series (I cannot recommend Ralph ''Soul'' Jackson's version of ''Jambalaya'' highly enough); and, maybe best of...