Reviews

Christopher Nolan's '98 DEBUT was made on a non-existent budget over a year of make-do weekend shoots, but introduced a shrewd talent with a unique knack for blow-to-the-solar-plexus storytelling. Its monochrome view of London's murkier nooks and crannies recalls Antonioni, but critics quickly tipped Nolan as the new Kubrick. And how he's delivered since. A lonely, bored wannabe writer semi-stalks random strangers (as 'research') but when a smooth-talking cat burglar turns the tables, he's seduced into a series of break-and-enter robberies.

Performance-driven crime drama hits the mark

Country's most revered voice goes back to church at 72 with legendary producer Billy Sherrill

Convincingly brutal return to form for San Francisco metal pioneers

Pleasant but nondescript noodling from hip Scandinavians

Stunning second album from rising Portuguese star

OMD were always the most reasonable of electropoppers, and much of their eponymous 1980 debut album resembles a sixth-form music project with songs ranging from the endearingly daft ("Red Frame/White Light") to the accidentally profound ("Messages"). Organisation, released six months later, is what they turned into after they had listened to Joy Division; few hit singles have been as darkly ironic as "Enola Gay".

Overblown 1990 live version of the Floyd's multi-platinum epic

Powerful psychodrama from Norway

Gabriel Byrne and Julianna Margulies head up a nautical salvage crew who discover a derelict ocean liner that's been missing since 1962. On board is a fortune in gold bullion—and several hundred ghosts. Pure formula—occasionally bizarre and gory, but in the main outrageously schlocky, with Margulies in plucky heroine mode—and comfortingly reliable.