Reviews

Prolific Cornish knob-twiddler Luke Vibert returns

David Lean's 1955 romance, restored by the BFI

Krzysztof Kieslowski's trilogy is one of the standard bearers for 'arthouse' cinema. And though the movies occasionally hint at self-importance (in Zbigniew Preisner's intrusive scores and the colour-coded shooting style), Kieslowski's steely control of storytelling always keeps the narratives fiercely compelling

This made Edward Burns' name as an actor-writer-director when it won Sundance back in '95 on a matchstick budget. He plays one of three Irish-American siblings trying to understand each other and the women in their lives. Straight-talking, romantic yet unsentimental, it's the kind of comedy we wish Woody Allen still made. Or, for that matter, Burns himself.

After all the talk of paying tribute to original 1970s cops David Soul and Paul Michael Glaser, Ben Stiller and Owen Wilson throw out any genuine resemblance to those freewheeling dudes and simply take the piss for 90 minutes. There are some canny gags and clever pastiches of buddy-movie clichés, but they give up on it halfway through and just cruise camply.

Treasure-trove of dirge and lullaby over three CDs and one DVD

By 1967, rock'n'roll's voracious appetite for new sounds had drawn it unexpectedly close to another countercultural phenomenon: the classical avant-garde. John Cale, a former student of LaMonte Young, was introducing minimalist drone to The Velvet Underground. Paul McCartney was becoming diverted by the musique concrète and collagist techniques that would eventually result in "Revolution 9".

Typically unadorned, quirky new album from cult hero

Seventh outing from Toronto troub, with Ed Harcourt on piano

Master guitarist with all-star guests