Reviews

There's a dark rumble to Massive Attack's instrumental score for this Luc Besson-produced martial arts movie, arranged by Robert Del Naja and Neil Davidge in 21 miniature sequences. Many of these are a minute or so long, so it's hard to cite them as anything special, and the nagging feeling persists that there's been an element of smoke and mirrors about this outfit's fashionable misery since their heyday. Those pieces that are allowed time to breathe suggest greater depths, like "One Thought At A Time", which clocks in at a whopping four minutes plus.

Back in the studio after 21 years apart

Fifth solo outing for fiftysomething Nashville maestro MILLER'S MORE ILLUSTRIOUS work as guitarist/musical director with Emmylou Harris and Steve Earle has sometimes put his solo output in the shade. A pity, because there's much to discover in the Ohio native's back pages. Earle swears he's "the best country singer working today", while Robbie Fulks calls him country's only living auteur.

Versatile jazz guitarist's sample-based outing, produced by the eclectic Hal Willner

At a time when much British alternative rock is hobbled by the demands of 'authenticity', Brighton's Eighties Matchbox B-Line Disaster strike a rowdy, triumphantly rulebook-flouting note. Clearly, they have their heroes—The Cramps, Dead Kennedys, Melvins and Kyuss among them—but the band's wide-ranging vision suggests they couldn't churn out copies of the music they love even if they tried. The Royal Society explores themes of mental derailment and the black arts against a backdrop of the heaviest psychobilly, grunge-metal and stoner rock.

Folktronic delight from Kansas-born Londoner

Stylishly successful Cole Porter musical biopic

Coppola's love-in-Las Vegas musical fantasy is ripe for reappraisal

Thriller from '81 based on Whitley Strieber's novel, directed by Michael Woodstock Wadleigh, and by no means a conventional werewolf tale. Albert Finney is the cop investigating incredible gory deaths in New York... but are terrorists to blame, or animals, or Native American shape-shifters? Unusual camera techniques, a great performance from Finney, and a genuinely supernatural atmosphere that builds and builds.

While the US administration portray. Iran as hostile to culture and dissent, Samira Makhmalbaf's films suggest otherwise. Her 1997 debut, made when she was 17, tells the story of the Naderi family (played by themselves), whose daughters were kept unwashed and imprisoned until they were 12. Simple, painterly, weirdly engaging, it subtly reveals that excessive faith and the repression of women are outmoded concepts even in that 'axis-of-evil' capital Tehran.