Reviews

Recorded at the LA Troubadour in 2000—and gaps like that never bode well. Though it covers moments when the band were at their defiant best—"Olympian", "For The Dead", "Fighting Fit"—it still feels like they're going through the motions. And that's a shame as Gene always had a lot more to them than their ill-deserved reputation as Britpop fops. Worth seeing for what could have been.

'70s soul/country turns from The Killer

All the 45s from the sublime Scottish duo who briefly threatened to become part of the '80s pop circus

Lyrical roots rock from up-and-coming Virginian singer-songwriter

Striking Islamic roots album from Senegalese superstar

Debut from Cocteau Twin-championed Texan psych-pop quintet

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.