Reviews

Alter-ego of The Be Good Tanyas' Trish Klein and Montreal's ex-Fear Of Drinking singer Allison Russell, Po' Girl dish out an invigorating mess of blues-jazz and country grit. There's enough hair in the harmonies and a looser approach to distinguish the duo from the Tanyas' buffed-up chirpiness, plus plenty of silver-spun beauty. Klein's voice sounds folk-mountain fresh throughout, while Russell drizzles the likes of "Wheels Are Taking Me Away" with sleepy clarinet.

Many are now admitting that the title may have been the funniest thing about Christopher Guest's latest piss-take of the earnest. Problem being that its chosen genre of cheesy '60s folk is barely remembered in the UK: Dylan and co presumably blew away the artists Guest is targeting. Also, he clearly nurtures an affection for these nerds.

They're comprised of Chris Abrahams (keyboards), Lloyd Swanton (bass) and Tony Buck (drums), and have been in existence on and off since 1987. You might think "jazz trio", but this remarkable group goes far beyond that. Their methodology is to improvise slowly on and gradually develop melodic and rhythmic motifs.

Ardent art-rockers with a preacher's conviction

Two original Mercury LPs from '60s one-hit wonder. But what a hit

Timely reissue on Aphex Twin's label

Efficient tale of fractured family set in the Old West.

The American newspaper heiress' kidnapping and brainwashing by the self-styled urban revolutionaries of the Symbionese Liberation Army, as retold by Paul Schrader. In the title role, Natasha Richardson goes through the trauma with committed desperation, but, despite being based on Hearst's own memoir, you never feel any closer to her, even if Schrader's film is often as claustrophobic as the cupboard in which she was imprisoned for 50 days.

Eleven years after his original expressionist classic, Dr Mabuse The Gambler, this 1933 sequel from Fritz Lang, banned by the Nazis for its political undertones (Mabuse/Hitler parallels), follows the titular crime lord's activities from beyond the grave, and features the original Lynchian'creepy velvet curtain' scene, plus one of cinema's first breakneck POV car chases.

Dour, long-winded erotic thriller, directed by Jane Campion like her favourite recent films have all been made by Joel Schumacher. Meg Ryan, apparently auditioning for a re-make of Klute, is the New York teacher shagging Mark Ruffalo's homicide cop who she begins to suspect is a serial killer. Bollocks, frankly.