Reviews

Kang Woo-Seo's admittedly stylish regurgitation of every Hollywood serial-killer/renegade-cop thriller cliché follows recalcitrant and psychotically violent detective Kang on the hunt for a mac-wearing knife-wielding slasher. Kang is a surly Kitano-esque bully, the killer is a narcissistic investment banker, and the whole movie is completely charmless.

Country-rock class from Rolling Stone's one-time "best male vocalist"

Dreamy lo-fi duo deliver diaphanous career-best

Italian producer's electro-soul odyssey

Delightful, dashing debut from Scottish punk-funksters

Donald Fagenson (Don Was) and David Weiss (David Was), two nice Jewish boys from the Detroit suburb of Oak Park, were the Walter Becker and Donald Fagen of the early '80s, making acerbic commentaries on Reagan-era geopolitics over superbly produced and polished, futuristic punk-funk. Detroit being the Motor City and the home of Motown and the MC5, Was (Not Was) incorporated equal parts R&B and rock, with soul vocals from Sweet Pea Atkinson and angular guitar courtesy of Wayne Kramer of the '5.

Long overdue repackaging for small yet perfectly formed back catalogue of much-missed early-'80s avant-cuties. Plus lashings of extras

Familiar US Thanksgiving fare in digicam style

A silent classic from the halcyon days of German expressionism, Der Letze Mann is FW Murnau's dreamlike melodrama of hubris—a big-budget 1924 masterpiece of light, shadow and set design. Restored to a crispness that's worthy of '40s film noir, it stars Emil Jannings as a shambling, walruslike doorman who's demoted to the hotel lavatories. Slow and emotionally laboured but fluid and spectacular to watch.

Slow-burning, eventually gripping Canadian study of gambling addiction starring Philip Seymour Hoffman. His bank clerk commits massive fraud to fund high-roller trips to Vegas and Atlantic City, while girlfriend Minnie Driver's left in the dark. As comeuppance looms nearer, Hoffman's a junkie for one more roll of the dice. Well worth a flutter.