Reviews

Charlton Heston plays the Last Man On Earth after everybody else has been transformed by a plague into albino vampires in this so-so adaptation of Richard Matheson's novel I Am Legend. Some nice post-apocalyptic moments in the first half, but the vampires really aren't scary enough and the allegorical ending is on a par with a flying mallet. Disappointing.

Pop perfectionists follow up 1999's comeback album, Last Exit

Follow-up to 2000's much-lauded Maroon from Jimmy's offspring

Engagingly oddball debut from Icelandic electrobod

Album number nine from Dean and Gene Ween, who know no stylistic bounds

Set fire to anything. Set fire to the air," urged John Cale at the beginning of Music For A New Society. That 1982 masterpiece was the evisceration of a man whose fractured psyche was mirrored perfectly by songs arranged in jagged, improvisatory style; a knife held at the throat of sweetness. Now he reappears with his first album of songs for seven years, and his finest album in any genre for over two decades.

Greatest hits (again) plus recent acclaimed remixes

Slow, slow journey into heart of darkness

A Dogme film in danger of giving a tiring genre a good name, Susanne Bier's love tragedy is deeply involving and intensely moving. When a woman's lover is paralysed in a car accident, she falls in love with his married doctor. Not once in its two hours does the film hit a dishonest note, there's subtle humour, and the acting's exemplary. You'll be tenderised.

An immaculate digital restoration job, including muffle-free audio, silky silver monochrome and original 'pillarbox' framing, adds an unnerving contemporary kick to Fritz Lang's 1931 masterpiece. Detailing the slavering hunt for bug-eyed child murderer Hans Beckert (Peter Lorre) through a dark and hostile, shadow-filled Berlin, this is the original, if not the best, serial killer flick.