Reviews

Claude Lelouch arguably never surpassed this 1966 Oscar-winning romance, which sweetened French new wave experimentation for the global mainstream. For all the heart-tugging lyricism, it's still immensely affecting. Bright Anouk Aimée and brave Jean-Louis Trintignant, both widowed, fall in love as that durable theme tune twinkles away.

Riffing on early David Mamet or Neil LaBute, writer-director Patrick Stettner's superb three-hander anatomises the airless, amoral culture of top-rank executives. In a faceless airport hotel, high-flyer Stockard Channing plays sadistic sex-and-power games with young business rival Julia Stiles and corporate headhunter Frederick Weller. Sharp, astringent, and proof that complex ideas and strong performances transcend even minimal budgets.

Having met at Leicester Music College in 1998 and formed early last year, The Havenots are Sophia Marshall and Liam Dullingham, two young pups (20 and 22) whose smoke-weary delivery belies their tender years. Informed by Gram/Emmylou, Gillian Welch/David Rawlings and Uncle Tupelo, this is gentle smoulder for the most part, all languid, punt-down-the-river melodies and mountain-air acoustic guitars (courtesy of Samuel Harvey).

Southern soul revived with passion

Over-cooked debut from Robbie Robertson-discovered Southern belle

This full length debut of music box chimes ("Both Mirror And Armour"), sampled Japanese folk songs ("Sakura", "Takeda") and proggy Vangelis-inspired electronics (everything else) has a neo-pastoral charm which, at face value, would align it closely with the output of labels like Memphis Industries and Tummy Touch.

Intelligent heartbreak pop

Ill-advised dance overhauls of Sheffield's finest

Haines classics re-recorded, plus three new songs

Excellent introduction to gospel music