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Ravaged Beauty

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Ever since Andrew Oldham discovered his "angel with big tits", as he described the teenage Faithfull, the best moments in her career have come from being mentored by a strong, sympathetic figure who understood her talent and knew how best to showcase it. Oldham teamed her with a songwriting duo called Jagger-Richards, who came up with "As Tears Go By" for her then virginal voice. The late-'70s reinvention of Broken English was masterminded by Chris Blackwell, who brilliantly suggested she wrap her now ravaged vocal cords around such material as "The Ballad Of Lucy Jordan" and "Working Class Hero". Her best album of the '80s, Strange Weather, was conceived by Tom Waits and produced by Hal Willner. And in the '90s, Angelo Badalamenti produced and added the music to her lyrics on A Secret Life. On Before The Poison, Faithfull has two key collaborators in Nick Cave and PJ Harvey, and it's particularly fascinating to hear her working so closely with another woman for the first time. Harvey wrote three tracks outright and co-wrote two more, and her presence is so forceful that songs such as "The Mystery Of Love." and "My Friends Have" risk sounding like outtakes from her own Stories From The City, Stories From The Sea album. Yet Faithfull inhabits them so convincingly that it never becomes a takeover, more a case of the two women finding an intuitive connection. The three collaborations with Cave are more democratic. He provides the music to Faithfull's lyrics and clearly worked hard at creating the musical context to maximise the theatrical qualities in her delivery. In addition, Damon Albarn contributes "Last Song" and Jon Brion juxtaposes a fairytale-like melody to some dark Faithfull lyrics on the closer, "City Of Quartz". Overall, the result is probably the most potent album she's made since Broken English a quarter of a century ago.

Ever since Andrew Oldham discovered his “angel with big tits”, as he described the teenage Faithfull, the best moments in her career have come from being mentored by a strong, sympathetic figure who understood her talent and knew how best to showcase it. Oldham teamed her with a songwriting duo called Jagger-Richards, who came up with “As Tears Go By” for her then virginal voice. The late-’70s reinvention of Broken English was masterminded by Chris Blackwell, who brilliantly suggested she wrap her now ravaged vocal cords around such material as “The Ballad Of Lucy Jordan” and “Working Class Hero”. Her best album of the ’80s, Strange Weather, was conceived by Tom Waits and produced by Hal Willner. And in the ’90s, Angelo Badalamenti produced and added the music to her lyrics on A Secret Life.

On Before The Poison, Faithfull has two key collaborators in Nick Cave and PJ Harvey, and it’s particularly fascinating to hear her working so closely with another woman for the first time. Harvey wrote three tracks outright and co-wrote two more, and her presence is so forceful that songs such as “The Mystery Of Love.” and “My Friends Have” risk sounding like outtakes from her own Stories From The City, Stories From The Sea album. Yet Faithfull inhabits them so convincingly that it never becomes a takeover, more a case of the two women finding an intuitive connection.

The three collaborations with Cave are more democratic. He provides the music to Faithfull’s lyrics and clearly worked hard at creating the musical context to maximise the theatrical qualities in her delivery. In addition, Damon Albarn contributes “Last Song” and Jon Brion juxtaposes a fairytale-like melody to some dark Faithfull lyrics on the closer, “City Of Quartz”. Overall, the result is probably the most potent album she’s made since Broken English a quarter of a century ago.

Julie Doiron – Goodnight Nobody

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Julie Doiron was formerly bass player with psychedelic folksters Eric's Trip. Since they split in the late 1990s, she's embarked upon motherhood, photography, and a slightly hesitant solo career. Like her previous two solo albums, Goodnight Nobody offers sparse, intimate and rather morose lo-fi-folk. "Snow Falls In November" is on a par with Damon & Naomi's finest, while "Dirty Feet"'s hallucinogenic ambience showcases Doiron's knack for affecting, minimal arrangements. Unfortunately, she doesn't sustain the initial magic as her flat, characterless voice begins to grate. Too often, Doiron simply moans, forgetting the melancholy.

Julie Doiron was formerly bass player with psychedelic folksters Eric’s Trip. Since they split in the late 1990s, she’s embarked upon motherhood, photography, and a slightly hesitant solo career.

Like her previous two solo albums, Goodnight Nobody offers sparse, intimate and rather morose lo-fi-folk.

“Snow Falls In November” is on a par with Damon & Naomi’s finest, while “Dirty Feet”‘s hallucinogenic ambience showcases Doiron’s knack for affecting, minimal arrangements. Unfortunately, she doesn’t sustain the initial magic as her flat, characterless voice begins to grate. Too often, Doiron simply moans, forgetting the melancholy.

Piney Gir – Peakahokahoo

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Cut loose last year from Vic Twenty (the band she shared with Adrian Morris), Angela Penhaligon's solo debut (as Piney Gir) is carte blanche for a loose-footed spirit. It's easier to list where she doesn't go, but let's say that the early-'80s analogue of "Creature" (equal parts Human League and Depeche Mode) is as effective as the kooky country of "Greetings, Salutations, Goodbye" and the Gallic '60s pop of "Sweet". Her voice?sticky-sweet with a dark aftertaste?is the key, capable of tearing apart "My Generation" one minute then playing cupid to Simple Kid (lounge-swinger "Nightsong") the next.

Cut loose last year from Vic Twenty (the band she shared with Adrian Morris), Angela Penhaligon’s solo debut (as Piney Gir) is carte blanche for a loose-footed spirit. It’s easier to list where she doesn’t go, but let’s say that the early-’80s analogue of “Creature” (equal parts Human League and Depeche Mode) is as effective as the kooky country of “Greetings, Salutations, Goodbye” and the Gallic ’60s pop of “Sweet”. Her voice?sticky-sweet with a dark aftertaste?is the key, capable of tearing apart “My Generation” one minute then playing cupid to Simple Kid (lounge-swinger “Nightsong”) the next.

King Of Woolworths – Rediffusion

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Jon Brooks is regent of a timelocked region whose anthem was composed by Delia Derbyshire, where the first lady is the Slimcea Girl and Robert Moog is a knight of the realm. Bordered by the eerie plains of the Boards Of Canada and the dreamy suburbs of St Etienne, with a prevailing climate of wistful reverie, the principal exports are poignant reconstructions of half-remembered TV theme tunes. When they drift beyond the generically pretty (as on the mournful "Divertissements" or the noir of "Crazy Lions") the results are delectable, but much here seems destined to soundtrack commercials for soft furnishings.

Jon Brooks is regent of a timelocked region whose anthem was composed by Delia Derbyshire, where the first lady is the Slimcea Girl and Robert Moog is a knight of the realm. Bordered by the eerie plains of the Boards Of Canada and the dreamy suburbs of St Etienne, with a prevailing climate of wistful reverie, the principal exports are poignant reconstructions of half-remembered TV theme tunes. When they drift beyond the generically pretty (as on the mournful “Divertissements” or the noir of “Crazy Lions”) the results are delectable, but much here seems destined to soundtrack commercials for soft furnishings.

Kate Aumonier – Here I Am

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What a relief to find a female songstress not being marketed as the new Katie Melua or Eva Cassidy. Kate Aumonier has a sharper focus, assisted by the fact that she's served her time in the business, including singing backing vocals on Emmylou Harris and Linda Ronstadt's 1999 album, Western Wall: The Tucson Sessions. Her songs are confessional and full of sharp observations on the mating game ("I just fell for Mr Wrong, isn't that amusing?"), and there's no disputing the appeal of her voice. Sadly, the album's anonymous, identikit rock production lets her down.

What a relief to find a female songstress not being marketed as the new Katie Melua or Eva Cassidy. Kate Aumonier has a sharper focus, assisted by the fact that she’s served her time in the business, including singing backing vocals on Emmylou Harris and Linda Ronstadt’s 1999 album, Western Wall: The Tucson Sessions. Her songs are confessional and full of sharp observations on the mating game (“I just fell for Mr Wrong, isn’t that amusing?”), and there’s no disputing the appeal of her voice. Sadly, the album’s anonymous, identikit rock production lets her down.

Richard Buckner – Dents And Shells

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The shocking thing about Richard Buckner's latest isn't its low-key magisterial elegance, which is always a hallmark of this fiercely individualistic songwriter. It's that, rather than mimic his intense noise-rock/punk stage show of recent times, Dents And Shells essentially comes on as Impasse II, unassumingly echoing his 2002 album's obtuse, impressionistic, non-linear songwriting. As ever, Buckner's dense, elliptical melodies and bits of whispered wisdom, given half a chance, will get under your skin and put you in a darkly meditative state. Best song: the hypnotic "Her", which, like his best material, is no more concrete than a long, late-afternoon shadow.

The shocking thing about Richard Buckner’s latest isn’t its low-key magisterial elegance, which is always a hallmark of this fiercely individualistic songwriter. It’s that, rather than mimic his intense noise-rock/punk stage show of recent times, Dents And Shells essentially comes on as Impasse II, unassumingly echoing his 2002 album’s obtuse, impressionistic, non-linear songwriting. As ever, Buckner’s dense, elliptical melodies and bits of whispered wisdom, given half a chance, will get under your skin and put you in a darkly meditative state. Best song: the hypnotic “Her”, which, like his best material, is no more concrete than a long, late-afternoon shadow.

Minnie Driver – Everything I’ve Got In My Pocket

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Driver was signed to Island as a singer-songwriter in the early '90s, but was then offered a lead role in the film Circle Of Friends?and that was that. A decade later, she's finally found time to record a rather fine debut album. Backed by members of The Wallflowers and Pete Yorn's band, she's got an appealingly bittersweet voice and, with the exception of one cover (Springsteen's "Hungry Heart), wrote all the songs herself. The title track has a chilled, Morcheeba-ish feel, and "Wire" sounds like surrogate Dido. But that's as commercial as it gets?the rest is classic country-folk fare.

Driver was signed to Island as a singer-songwriter in the early ’90s, but was then offered a lead role in the film Circle Of Friends?and that was that. A decade later, she’s finally found time to record a rather fine debut album. Backed by members of The Wallflowers and Pete Yorn’s band, she’s got an appealingly bittersweet voice and, with the exception of one cover (Springsteen’s “Hungry Heart), wrote all the songs herself. The title track has a chilled, Morcheeba-ish feel, and “Wire” sounds like surrogate Dido. But that’s as commercial as it gets?the rest is classic country-folk fare.

The Autumns

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After critically lauded '97 debut The Angel Pool, The Autumns became a big draw on the US college circuit, and could now do the same in the UK. Mixing silvery guilar patterns with raging feedback and FX pedals, they successfully harness shoegazing's euphoric tendencies, coated with Snowpatrol/Keane anthemics (they're well equipped in that department by singer Matt Kelly's soaring falsetto). Searing drama rock with potential.

After critically lauded ’97 debut The Angel Pool, The Autumns became a big draw on the US college circuit, and could now do the same in the UK. Mixing silvery guilar patterns with raging feedback and FX pedals, they successfully harness shoegazing’s euphoric tendencies, coated with Snowpatrol/Keane anthemics (they’re well equipped in that department by singer Matt Kelly’s soaring falsetto). Searing drama rock with potential.

Glen Matlock & The Philistines – On Something

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It's hard not to feel a little sympathy for The Sex Pistols' original bassist. Ridiculed by the rest of the band for his haircut, love of melody and white-collar background?and vilified by history, essentially for not being Sid Vicious?Matlock has had quite a burden to bear. On the evidence presented here, rehabilitation isn't gonna happen any time soon. On Something is a grim trudge across pub-rock terrain, each relentlessly chugging, jukebox-composite tune done further disservice by Matlock's flat, nasal tones. Whither the talent that magicked up "Pretty Vacant"?

It’s hard not to feel a little sympathy for The Sex Pistols’ original bassist. Ridiculed by the rest of the band for his haircut, love of melody and white-collar background?and vilified by history, essentially for not being Sid Vicious?Matlock has had quite a burden to bear. On the evidence presented here, rehabilitation isn’t gonna happen any time soon. On Something is a grim trudge across pub-rock terrain, each relentlessly chugging, jukebox-composite tune done further disservice by Matlock’s flat, nasal tones. Whither the talent that magicked up “Pretty Vacant”?

Fried

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David Steele drove Fine Young Cannibals and The Beat, and there's still a hint of '80s wine-bar soul about his neat new project. Nonetheless, the slick sound's given a lift by New Orleans singer Jonte Short. On the swooping "When You Get Out Of Jail" (with guest rap by RZA), she whips a cracking chorus till it whimpers. Beth Gibbons co-wrote "Stranger In This Land", and Steele's shrewdly taken '90s trip hop tricks on board. As pop, it works best in short bursts, but for all the calculation there's also a smouldering heart. "You're With The Wrong One" is "It Shoulda Been Me" for the Macy Gray generation.

David Steele drove Fine Young Cannibals and The Beat, and there’s still a hint of ’80s wine-bar soul about his neat new project. Nonetheless, the slick sound’s given a lift by New Orleans singer Jonte Short. On the swooping “When You Get Out Of Jail” (with guest rap by RZA), she whips a cracking chorus till it whimpers. Beth Gibbons co-wrote “Stranger In This Land”, and Steele’s shrewdly taken ’90s trip hop tricks on board. As pop, it works best in short bursts, but for all the calculation there’s also a smouldering heart. “You’re With The Wrong One” is “It Shoulda Been Me” for the Macy Gray generation.

The Blasters – 4-11-44

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In the mythic America some of us carry around in our heads, every bar boasts a house band like The Blasters. It's pointless to suggest they still miss Dave Alvin's songwriting, as it's 18 years since he quit and, if they can get over it, so can we. That said, the best song here is probably a cover?"Daddy Rollin' Stone". But brother Phil Alvin is still on board, and the rootsy mix of blues, rock, country and soul continues to provide the perfect soundtrack in the roadhouse of our minds.

In the mythic America some of us carry around in our heads, every bar boasts a house band like The Blasters. It’s pointless to suggest they still miss Dave Alvin’s songwriting, as it’s 18 years since he quit and, if they can get over it, so can we. That said, the best song here is probably a cover?”Daddy Rollin’ Stone”. But brother Phil Alvin is still on board, and the rootsy mix of blues, rock, country and soul continues to provide the perfect soundtrack in the roadhouse of our minds.

Red Lights

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OPENS SEPTEMBER 24, CERT 15 TBC, 105 MINS Based on a Georges Simenon novel, this is nominally a thriller from the director of L'Ennui and Roberto Succo, C...

OPENS SEPTEMBER 24, CERT 15 TBC, 105 MINS

Based on a Georges Simenon novel, this is nominally a thriller from the director of L’Ennui and Roberto Succo, C

Open Water

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OPENS SEPTEMBER 10, CERT 15, 79 MINS Susan (Blanchard Ryan) and Daniel (Daniel Travis) are work-obsessed twentysomethings whose idea of fun is to go diving in shark-infested Caribbean waters so they can take underwater snaps of fish. But when their tour boat motors away by mistake, they're suddenly stranded in the open sea, with no fresh water, compass, or a clue what to do apart from what they remember from TV nature documentaries. Before long, the fins start closing in... Billed foolishly by early hype as The Blair Witch Project meets Jaws, Open Water is rather less than the sum of either of those parts. Instead, it's a serviceable suspense movie, sort of an extreme-sports update on the yuppie nightmare movies (Pacific Heights) that fuelled our sense of schadenfreude during the '80s. The two leads do admirable acting jobs, with mostly just heads and shoulders visible above the water, their characters growing increasingly panicky, edging towards despair. Look at it another way and it's a great metaphor for doomed relationships.

OPENS SEPTEMBER 10, CERT 15, 79 MINS

Susan (Blanchard Ryan) and Daniel (Daniel Travis) are work-obsessed twentysomethings whose idea of fun is to go diving in shark-infested Caribbean waters so they can take underwater snaps of fish. But when their tour boat motors away by mistake, they’re suddenly stranded in the open sea, with no fresh water, compass, or a clue what to do apart from what they remember from TV nature documentaries. Before long, the fins start closing in…

Billed foolishly by early hype as The Blair Witch Project meets Jaws, Open Water is rather less than the sum of either of those parts. Instead, it’s a serviceable suspense movie, sort of an extreme-sports update on the yuppie nightmare movies (Pacific Heights) that fuelled our sense of schadenfreude during the ’80s. The two leads do admirable acting jobs, with mostly just heads and shoulders visible above the water, their characters growing increasingly panicky, edging towards despair. Look at it another way and it’s a great metaphor for doomed relationships.

Stage Beauty

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OPENS SEPTEMBER 24, CERT 15, 110 MINS London, 1660. The theatres, banned for the past 11 years by rule of Cromwell, have been re-opened with the restoration of the monarchy under Charles II. A young woman is desperate to defy convention and play the female role, which has always been performed by a man in drag. So far, so Shakespeare In Love. But this raucous adaptation of Jeffrey Hatcher's stage play by former National Theatre artistic director Richard Eyre, is way superior to that rom-com-in-tights. Billy Crudup plays Ned Kynaston, the most beautiful man on the British stage, a legend for playing female roles. Waiting in the wings is the genuine article? Maria (Claire Danes), a stage-struck costume assistant who dreams of dying on stage as Desdemona. She gets her chance, but finds herself dying in all the wrong places?Maria, it seems, is not over-burdened with natural talent. Danes and Crudup kick up sparks in their scenes together, and Eyre wins you over with an energetic mix of bawdy humour and quick-fire wit.

OPENS SEPTEMBER 24, CERT 15, 110 MINS

London, 1660. The theatres, banned for the past 11 years by rule of Cromwell, have been re-opened with the restoration of the monarchy under Charles II. A young woman is desperate to defy convention and play the female role, which has always been performed by a man in drag. So far, so Shakespeare In Love. But this raucous adaptation of Jeffrey Hatcher’s stage play by former National Theatre artistic director Richard Eyre, is way superior to that rom-com-in-tights. Billy Crudup plays Ned Kynaston, the most beautiful man on the British stage, a legend for playing female roles. Waiting in the wings is the genuine article? Maria (Claire Danes), a stage-struck costume assistant who dreams of dying on stage as Desdemona. She gets her chance, but finds herself dying in all the wrong places?Maria, it seems, is not over-burdened with natural talent.

Danes and Crudup kick up sparks in their scenes together, and Eyre wins you over with an energetic mix of bawdy humour and quick-fire wit.

Dans Ma Peau (In My Skin)

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OPENS SEPTEMBER 17, CERT 18, 93 MINS Although it's unlikely to be anyone's idea of a fun night at the movies, Marina de Van's debut follows through on its twisted premise with clarity and courage. de Van, who cut her teeth as a writer and actor for Francois Ozon, plays Esther, a young woman who accidentally gashes her leg and subsequently becomes obsessed with her wound. It's not long before she's opening up new sutures?presented in explicit, head-for-the-exit close-ups-and exploring the limits of her own flesh in ways that become increasingly sexualised. Tough as it is to summon laughter, de Van isn't above playing some of this for black comedy; a scene in a restaurant where one of Esther's limbs takes on a life of its own brings the film's mind-body split subtext to the surface while playing as ingenious, queasy farce. Those brave enough to peek at this compelling skin-crawler from between their fingers will recognise the influence of early Cronenberg and Ferrara's The Addiction. Otherwise, this is out there on its own-strange, scarred, beautiful.

OPENS SEPTEMBER 17, CERT 18, 93 MINS

Although it’s unlikely to be anyone’s idea of a fun night at the movies, Marina de Van’s debut follows through on its twisted premise with clarity and courage. de Van, who cut her teeth as a writer and actor for Francois Ozon, plays Esther, a young woman who accidentally gashes her leg and subsequently becomes obsessed with her wound. It’s not long before she’s opening up new sutures?presented in explicit, head-for-the-exit close-ups-and exploring the limits of her own flesh in ways that become increasingly sexualised. Tough as it is to summon laughter, de Van isn’t above playing some of this for black comedy; a scene in a restaurant where one of Esther’s limbs takes on a life of its own brings the film’s mind-body split subtext to the surface while playing as ingenious, queasy farce. Those brave enough to peek at this compelling skin-crawler from between their fingers will recognise the influence of early Cronenberg and Ferrara’s The Addiction. Otherwise, this is out there on its own-strange, scarred, beautiful.

Red Dawn

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DIRECTED BY Zhang Yimou STARRING Jet Li, Tony Leung, Maggie Cheung Opens September 24, Cert 12A, 99 mins Hero is dazzling, a great leap forward in movie-making: state-of-the-art CGI and editing techniques used not as a dumb fireworks display but as a starting-point for a visually sublime, thematic...

DIRECTED BY Zhang Yimou

STARRING Jet Li, Tony Leung, Maggie Cheung Opens September 24, Cert 12A, 99 mins

Hero is dazzling, a great leap forward in movie-making: state-of-the-art CGI and editing techniques used not as a dumb fireworks display but as a starting-point for a visually sublime, thematically simple and universally appealing work of art. The most expensive movie ever made in China (rumoured to be over $30m), it raises the bar clean out of sight.

It’s a graceful meditation on honour, heroism and love set in ancient China, with the country divided into seven warring kingdoms. The movie opens in a rain-lashed, slate-grey courtyard where county sheriff Nameless (Jet Li) and Sky (Donnie Yen) are kicking seven shades out of one another in Wire-Fu slo-mo. Finally, Yen goes down. Turns out Yen was the Quin kingdom’s Most Wanted, and Li travels to the Quin King’s palace to announce that Sky and two other equally notorious assassins, Broken Sword (Tony Leung) and Flying Snow (Maggie Cheung), are now dead. Li’s story unfolds in flashback?how he infiltrated the assassins and set them against one another. But is Li really who he seems? In flashback after flashback, the same story is told, Rash

Chinese Highs

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DIRECTED BY Andrew Lau and Alan Mak STARRING Anthony Wong, Eric Tsang, Carina Lau, Francis Ng Opened August 20, Cert 15, 119 mins THE CHARGED, HAUNTED atmosphere of Infernal Affairs, with its tortured cops and brooding criminals, seemed to suggest that somewhere along the line we'd missed out on something. The prologue alone hinted at past events to which the ensuing narrative could only allude. Well, prequel Infernal Affairs II?in true Godfather fashion?provides the back story, explaining how cop Yan (Tony Leung) ended up undercover in the triads and gangster Ming (Andrew Lau) became a mole in the police force. Suffice to say, it's not exactly simple to follow... Leung and Lau's roles are taken here by Hong Kong pop heartthrobs Shawn Yue and Edison Chen, although their characters are given little more to do than react with increasing concern as events around them spiral out of control. The main focus this time is on their superiors, Inspector Wong and mob boss Sam (Anthony Wong and Eric Tsang, reprising their roles from the original), who orchestrate a series of betrayals and double-crosses in their shared desire to bring down the head of the Ngai crime family (Francis Ng). Wong, being on the 'right' side of the law, is the more compromised of the two, and it's his efforts to exercise some sort of control over proceedings that gives the film its real dramatic power. Further complicating matters is the presence of Sam's mistress Mary (Carina Lau), whose involvement in these tangled conspiracies expands the narrative range beyond the first film's cat-and-mouse simplicity. Relentlessly busy, IA2 contains more character detail and plot revelation than any viewer could hope to absorb. But directors Lau and Mak adhere so closely to genre archetypes that you can happily follow its drift even if you miss some of the particulars. Although bloated by operatic, slo-mo set-pieces seemingly designed to force it into epic territory, the film gives action fans the kicks they crave while deepening some already memorable and complex characters. No wonder Scorsese wants a bit of this for himself with a remake?the spadework's been done, and the classic ingredients are all here.

DIRECTED BY Andrew Lau and Alan Mak

STARRING Anthony Wong, Eric Tsang, Carina Lau, Francis Ng

Opened August 20, Cert 15, 119 mins

THE CHARGED, HAUNTED atmosphere of Infernal Affairs, with its tortured cops and brooding criminals, seemed to suggest that somewhere along the line we’d missed out on something. The prologue alone hinted at past events to which the ensuing narrative could only allude. Well, prequel Infernal Affairs II?in true Godfather fashion?provides the back story, explaining how cop Yan (Tony Leung) ended up undercover in the triads and gangster Ming (Andrew Lau) became a mole in the police force. Suffice to say, it’s not exactly simple to follow…

Leung and Lau’s roles are taken here by Hong Kong pop heartthrobs Shawn Yue and Edison Chen, although their characters are given little more to do than react with increasing concern as events around them spiral out of control. The main focus this time is on their superiors, Inspector Wong and mob boss Sam (Anthony Wong and Eric Tsang, reprising their roles from the original), who orchestrate a series of betrayals and double-crosses in their shared desire to bring down the head of the Ngai crime family (Francis Ng). Wong, being on the ‘right’ side of the law, is the more compromised of the two, and it’s his efforts to exercise some sort of control over proceedings that gives the film its real dramatic power. Further complicating matters is the presence of Sam’s mistress Mary (Carina Lau), whose involvement in these tangled conspiracies expands the narrative range beyond the first film’s cat-and-mouse simplicity.

Relentlessly busy, IA2 contains more character detail and plot revelation than any viewer could hope to absorb. But directors Lau and Mak adhere so closely to genre archetypes that you can happily follow its drift even if you miss some of the particulars. Although bloated by operatic, slo-mo set-pieces seemingly designed to force it into epic territory, the film gives action fans the kicks they crave while deepening some already memorable and complex characters. No wonder Scorsese wants a bit of this for himself with a remake?the spadework’s been done, and the classic ingredients are all here.

Wicker Park

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OPENS SEPTEMBER 10, CERT 12A, 114 MINS You'll anticipate heinous sacrilege, this being Hollywood's cover version of Gilles Mimouni's magical 1996 French romance-thriller L'Appartement, with dozy Josh Hartnett in the Vincent Cassel role. Yet with Brit Paul McGuigan (Gangster No 1) at the helm, they not only get away with it but almost match the original's cerebral and emotional punch. It's heavily over-stylised, but the complex affairs tug towards a satisfying, powerful climax. In case you've forgotten the story (shame on you), Matthew (Hartnett) is on the verge of a career marriage when he glimpses the long-lost love of his life: Diane Kruger. He tries to track her down (the titular park's their old meeting place), but becomes embroiled with her friend (Rose Byrne), a neurotic actress. Serving as buddy and chorus is Matthew Lillard, toning down his excesses and even conveying a broken heart with due pathos. Mimouni's labyrinthine plot remains miraculous even if you know the twists, and the direction's slick but smart. A crazy, impassioned conceit which shouldn't work but does.

OPENS SEPTEMBER 10, CERT 12A, 114 MINS

You’ll anticipate heinous sacrilege, this being Hollywood’s cover version of Gilles Mimouni’s magical 1996 French romance-thriller L’Appartement, with dozy Josh Hartnett in the Vincent Cassel role. Yet with Brit Paul McGuigan (Gangster No 1) at the helm, they not only get away with it but almost match the original’s cerebral and emotional punch. It’s heavily over-stylised, but the complex affairs tug towards a satisfying, powerful climax.

In case you’ve forgotten the story (shame on you), Matthew (Hartnett) is on the verge of a career marriage when he glimpses the long-lost love of his life: Diane Kruger. He tries to track her down (the titular park’s their old meeting place), but becomes embroiled with her friend (Rose Byrne), a neurotic actress. Serving as buddy and chorus is Matthew Lillard, toning down his excesses and even conveying a broken heart with due pathos. Mimouni’s labyrinthine plot remains miraculous even if you know the twists, and the direction’s slick but smart. A crazy, impassioned conceit which shouldn’t work but does.

A Mann For All Seasons

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DIRECTED BY Michael Mann STARRING Tom Cruise, Jamie Foxx, Jada Pinkett Smith Opens September 17, Cert 15, 120 mins Taxi driver Max (Foxx) pulls out onto Sunset and into his nightshift. His first couple of fares are nothing special. Then, when Jada Pinkett Smith gets in, we may feel the movie is about to pick up speed. In fact, it slows down for a lengthy dialogue scene. Michael Mann is in no hurry to cut to the chase in this, his first film since the poorly received Ali. Rather, he wants to slip into the rhythm of the ride, to savour the LA nocturne ?after all, it's his favourite tune. What a pleasure to submerge yourself in this masterly film-maker's vision?except that an Armani-grey Tom Cruise is about to commandeer both the cab and the movie. "Vincent", as he calls himself, has five names on a list, a loaded gun and need of a dependable chauffeur between hits. Fasten your seatbelts, it's going to be a bumpy night. Highly improbable, to put it mildly, Collateral could easily have been downright laughable, save for the acumen with which Mann pulls the strings. By his own high standards, this is a cartoon caper, but judged beside what passes for thrillers these days, Collateral has the texture and gravity of an old-school classic. The mental?or rather philosophical?duel played out between Vincent and Max is prime Mann: it echoes the battle of wits and wills in Heat (another Vincent) and Manhunter?and if Cruise looks something like William Petersen in that film, it's surely no coincidence (guess they couldn't afford the real thing.) Max is Joe Schmo, stuck in a dead-end job, dreaming of the better life forever round the corner. Vincent is the existential super-ego who jazzes himself taking the cabbie for a ride. If Collateral ultimately fails to transcend its join-the-dots plotting, at least Mann gives it the allure of something crafty. He's on home ground here; it's a predictable winner.

DIRECTED BY Michael Mann

STARRING Tom Cruise, Jamie Foxx, Jada Pinkett Smith Opens September 17, Cert 15, 120 mins

Taxi driver Max (Foxx) pulls out onto Sunset and into his nightshift. His first couple of fares are nothing special. Then, when Jada Pinkett Smith gets in, we may feel the movie is about to pick up speed. In fact, it slows down for a lengthy dialogue scene.

Michael Mann is in no hurry to cut to the chase in this, his first film since the poorly received Ali. Rather, he wants to slip into the rhythm of the ride, to savour the LA nocturne ?after all, it’s his favourite tune.

What a pleasure to submerge yourself in this masterly film-maker’s vision?except that an Armani-grey Tom Cruise is about to commandeer both the cab and the movie. “Vincent”, as he calls himself, has five names on a list, a loaded gun and need of a dependable chauffeur between hits. Fasten your seatbelts, it’s going to be a bumpy night.

Highly improbable, to put it mildly, Collateral could easily have been downright laughable, save for the acumen with which Mann pulls the strings. By his own high standards, this is a cartoon caper, but judged beside what passes for thrillers these days, Collateral has the texture and gravity of an old-school classic.

The mental?or rather philosophical?duel played out between Vincent and Max is prime Mann: it echoes the battle of wits and wills in Heat (another Vincent) and Manhunter?and if Cruise looks something like William Petersen in that film, it’s surely no coincidence (guess they couldn’t afford the real thing.) Max is Joe Schmo, stuck in a dead-end job, dreaming of the better life forever round the corner. Vincent is the existential super-ego who jazzes himself taking the cabbie for a ride.

If Collateral ultimately fails to transcend its join-the-dots plotting, at least Mann gives it the allure of something crafty. He’s on home ground here; it’s a predictable winner.

The Isle

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OPENS SEPTEMBER 10, CERT 18, 88 MINS Those who first encountered director Kim Ki-Duk via this year's serene Spring, Summer, Autumn, Winter... And Spring are in for a surprise if they're expecting more of the same. Finally getting a UK release following a run-in with the BBFC that left it lighter by almost two minutes, The Isle both seduces and repels. Set on a lake dotted with floating cabins in which men live, fish and entertain local hookers, the film zeroes in on suicidal artist Hyun-Shik and silent prostitute Hee-Jin. Unconventional by anyone's standards, their courtship involves self-mutilation with fish hooks, strenuous sex and defecation, some animal torture and a lot of primal screaming. It's painful stuff for both characters and audience, but Kim dives deep to touch on loneliness, artistic and sexual frustration, societal divides and personal redemption. The film shimmers on the surface-it's as visually pleasing as Spring, Summer...?but its enigmatic nature and wince-inducing violence is sure to put people off. Get past the fish hooks though, and you'll find it mesmerising.

OPENS SEPTEMBER 10, CERT 18, 88 MINS

Those who first encountered director Kim Ki-Duk via this year’s serene Spring, Summer, Autumn, Winter… And Spring are in for a surprise if they’re expecting more of the same. Finally getting a UK release following a run-in with the BBFC that left it lighter by almost two minutes, The Isle both seduces and repels. Set on a lake dotted with floating cabins in which men live, fish and entertain local hookers, the film zeroes in on suicidal artist Hyun-Shik and silent prostitute Hee-Jin. Unconventional by anyone’s standards, their courtship involves self-mutilation with fish hooks, strenuous sex and defecation, some animal torture and a lot of primal screaming. It’s painful stuff for both characters and audience, but Kim dives deep to touch on loneliness, artistic and sexual frustration, societal divides and personal redemption. The film shimmers on the surface-it’s as visually pleasing as Spring, Summer…?but its enigmatic nature and wince-inducing violence is sure to put people off. Get past the fish hooks though, and you’ll find it mesmerising.

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