Reviews

Jean-Pierre Melville's penultimate film, from 1970, is the crime movie's Once Upon A Time In The West, a dark meditation on the iconography of hats, trenchcoats, guns, and the rituals of the heist. Alain Delon is the glacial master thief planning to take down a Parisian jewellery store, though he knows the cops are closing in. A steely, moody piece.

An Easy Riders, Raging Bulls companion piece, co-directed by Fisher King screenwriter Richard LaGravenese and the late Ted Demme, this is a worthwhile talking-heads-and-clips trawl through Hollywood's 1970s renaissance. It lacks any hint of critical distance but is valuable for collecting the testimony of the usual suspects, including Corman, Scorsese, Coppola, Friedkin, Altman, Bogdanovich, Hopper and Paul Schrader on pretty funny form: "The film business was a decadent, decaying, emptied whorehouse, and it had to be assaulted."

You might be expecting this to be a car crash of a second album, an anachronism long since superseded in relevance and sonics by the likes of Dizzee Rascal. But A Grand Don't Come For Free is in fact an extraordinary thing—a concept album, possibly the first garage opera, with a storyline that magnifies the frustration and decay captured so brilliantly on 2002's Original Pirate Material. The story details a particularly ruinous week in Mike Skinner's life; focusing on the loss of his £1000 savings, his broken TV and the collapse of his relationship with his girlfriend.

Two towering '80s icons get back on track but with some way to go

German nu-jazz duo draft in classy support for luscious Afro-Latin debut

Mr DiMucci puts adolescence to bed in slick urban soul collection

The onetime couple's three albums for Island, plus lives and BBC sessions

Charlie Kaufman takes it all the way in a memorable marvel

Revered by film-making legends from Alain Resnais to Martin Scorsese, the Japanese director Yasijuro Ozu specialised in minutely observed and exquisitely composed domestic dramas. Made in 1959, Floating Weeds was one of Ozu's last features, a remake of one of his early silents about backstage politics and romantic turbulence among a troupe of travelling Kabuki theatre players. The subject may sound alien but Ozu makes their problems timeless and universal.

Mercifully free from saccharine Shawshank/Green Mile prison movie proselytising, Steve Buscemi's stark follow-up to the amiable Trees Lounge instead simply tosses luckless dope-dealing suburbanite Edward Furlong in among a brood of psychopathic sexual predators, including Willem Dafoe and Mickey Rourke, and then watches him squirm. Bleak stuff, with a final, disposable redemption.