Uncut

Oblique, arcane and infuriatingly sluggish, even by Tarkovsky's standards (makes Andrei Rublyov look like Moulin Rouge), Nostalgia is the litmus test for arthouse cinephiles. The 'story' of a Russian poet locked in existential agony while researching an obscure 18th-century composer is brimful of breathtaking tableaux, portentous dialogue and primal symbolism (flickering flame as human soul). But is it enough?

John Sayles scripted this Jaws-onland rip-off, with Robert Forster as the cop chasing a giant man-eating monster down in the sewers. Forster's dogged, and some of the set pieces are pretty nifty, but the plot's farcical, and this isn't strong on intellectual content despite its obligatory eco-message. The sequel is a made-for-TV retread, of practically zero interest.

What's left of The MC5 kick out those jams again with help (and hindrance) from Dave Vanian, Ian Astbury and a razor-sharp Lemmy

The homecoming Boy has come a long way

One of the oddest gigs I've seen in a long time. The weathered Leven sings mournful songs of loss and regret in a rich, soulful voice. He's a big poetry man, quoting Pablo Neruda on his new album Shining Brother Shining Sister. Yet, more often than he's being a melancholic, working-class minstrel, he's being a man of the people in an entirely different manner. For at least half his time onstage, he tells bawdy shaggy dog stories.

Electro duo Ariel Wizman and Nicolas Errera bring fun back to French avant-disco with help from Sparks

Comeback attempt by Mr Hucknall with his first indie release in 20 years

Second from retrograde avant-pop Londoners

Unlikely San Franciscan loverman's rap/electronica party

Three years slaving away in a hot studio for UK garage man