Reviews

Arty German electro-rock scenesters deliver third LP

Album of the year according to The Go-Betweens' McLennan and Forster

Fourth album from trip hop survivors who were never really trip hop

Not a voicebox in sight as Comes Alive man makes low-key comeback

With a penchant for Julia Roberts, Savile Row suits and quarter horse studs, it's easy to see how Lyle Lovett won his reputation as a suave country stylist. You might not picture Lyle at the Battle of the Alamo but he's definitely officer material. My Baby Don't Tolerate is a great set of songs that may prove as resilient as his superb mid-'90s album Joshua Judges Ruth.

I know what you're thinking. Oh Lord, what's McCartney doing now? What desperate revisionism is he foisting on a Lennon-free world? Now calm down.

Liverpool's best songwriters since Lennon and McCartney

OPENS NOVEMBER 14, CERT 15, 102 MINS Ann (Sarah Polley) is 23 and works as a night cleaner. She lives in a trailer home in her mother's backyard, along with two young daughters and an unemployed husband. She also, it turns out, has inoperable cancer, and a matter of months to live. And while on paper that might sound like Terms Of Endearment on a budget, this beautifully judged Canadian picture (produced by Pedro and Agustin Almodóvar) couldn't be further from the mawkishness of a Hollywood weepy. What lifts the film is the powerful, dignified performance from Polley.

Acclaimed Danish film-makers do battle

In June 1988, Depeche Mode took their stadium techno roadshow to ground-breaking heights by filling the 65,000-capacity Pasadena Rose Bowl near LA. Captured by the legendary rock-doc maestro DA Pennebaker and his long-term partner Chris Hegedus, the show became a fine concert film, incorporating reality TV-style coverage of fans travelling to the gig. Repackaged with extra footage, audio commentaries and updated interviews, it's a handsome historical record of Wagnerian electro-pop and hair gel abuse.