Ben Stiller's hysterical war movie send-up takes aim at Hollywood

To Leicester Square this morning, and the launch of this year’s London Film Festival. There’s always something of a guessing game, prior to the announcement of the line-up, about what’ll be showing. This year, for instance, I’d been hoping we might get John Hillcoat’s adaptation of Cormac McCarthy’s The Road, Mickey Rourke’s apparently astonishing comeback in The Wrestler and Sam Mendes’ film of Revolutionary Road, Richard Yates' novel I recently read and thought was incredible. No such luck as at least two of them aren't finished yet, but still – the line-up is pretty strong. There’s an artful of choice of marquee name movies mixed with some excellent left-field selections, a fantastic looking documentary about one of the great 60s folk singers and a film which, despite having the most unwieldy name in film history, will be one of the biggest hits of the year.

I can’t off the top of my head think of another instance where you’ll find a former US President queuing up alongside the head of the Hell’s Angels to dispense hosannas on one man. But that, perhaps, says much about Hunter S Thompson’s influence on American culture – particularly during the late Sixties and early Seventies when, as Alex Gibney’s brilliant documentary rightly identifies, Thompson was, unbelievably, one of the most influential men in the country.

After a mystifying diversion, Arizona duo return (in part) to familiar, dusty territory

Judging by the activity on the blog about “Golden Age”, there’s a fair amount of excitement about TV On The Radio’s “Dear Science”. And, now that I’ve heard the album properly a few times, I reckon it’s pretty justified: this is the best record the band have made by a mile.

The movie career of Steve Coogan has so far proved to be a fascinatingly erratic subject. Sure, it’s not unusual to find a successful British TV comedian struggle to establish himself in movies, particularly in Hollywood. For every Dudley Moore, who became a huge movie star in the States with Arthur and 10, you only have to look at Peter Cook - the true genius in that partnership - whose transatlantic film career barely made it beyond Supergirl.

Outtakes and unreleased live recordings shine new light on the angels and demons at war in a 40-year career

By most fan standards, I’m a bit of a Grateful Dead lightweight. I own no bootlegs, and precious few live albums beyond the canonical early ones – “Live Dead”, “Europe ‘72” and so on. Consequently, two things: one, if anyone has recommendations for me from the “Dick’s Picks”/”One From The Vault”/"Road Trips" catalogue, I’d be very grateful (thanks again for everyone’s help navigating a path through Fleetwood Mac, by the way). And two, “Rocking The Cradle: Egypt 1978” is, I think, my first encounter with live Dead from that period – I reckon the latest show I have is that excellent one from “Cow Palace ‘76”. So forgive me if I can’t quite tell how this one measures up against other contemporary shows.

The Neil Young headlined bash was such a success, three days are planned for 2009

James Blackshaw and Cate Le Bon also confirmed as supports for September 10 show