AI is a film which confused me. Not because of its meandering plot, lack of logic in places and confusing cuts. Because I simply couldn't decide whether I loved it or hated it.

Throughout the whole film, I was viewing it cynically. I had been told it was bad - and it came across that way - cliched, with a dull plot and terrible terrible scriptwriting. And after all let's face it, the plot of the film is ridiculous. But then just as the film ended as I was ready to give it 1 star, suddenly it hit me, and I was in floods of tears.

I really don't know what came over me, but the film somehow connected with me in some way and I finally gave up trying to resist it at the end. Realising that everything that is borrowed or cliched about this film just serves to turn it into a film that encompasses everything that's been great about past films. I think this film reminded me of my childhood in some way, whether it was because of what happened in the film or just because as futuristic and sci-fi as this film is, ultimately its a fantasy story like they used to make them, about hopes and dreams and trying to fulfill them. It doesn't try to pander to the wants of modern cinemagoers who judge films of how realistic or groundbreaking they are, but instead uses the old fashioned traditions of make-believe. At the risk of sounding corny, its about a journey.

And I realised that in fact this film is magical, beautiful. Becuase as cliched and corny as it is, it feels like an epic - like one of the originals. View one of the older films that do the same - whether it be Wizard of Oz, 2001 or ET, and you see that they to use the same tried-out language and they too are naive and in a way cheesy.

But its allowing ourselves to believe these cheesy situations that creates the childlike magic of a film like AI. And so this film truly does encompass everything. While its far from flawless, its a wonderful film which evokes such a sense of nostalgia in me, and feels so much like a good old-fashioned fantasy film, that I can't give it any less than the full 5 stars. This film will join the films I mentioned: Wizard of Oz and ET, as films that I will want to show to my children as an example of what cinema used to do: creating a magical world of beautiful dreams coming true, however improbable it might seem to a critical eye.

This album would really have benefitted from having its doors opened and being allowed to run free. Everywhere on this album, you get the impression of lovely songs - but have Coldplay really done what they wanted to do? An answer can be found in their live performances. Live, many of these songs take on new forms, showing that Coldplay want to do more with their music than they are currently doing.

We'll start with Politik. This song is apparently the loudest that Coldplay have ever written. This isn't saying much. One UK music mag called it 'loud, fast and angry' - this is trying far too hard to say Coldplay have done more than they have. True the riff is slightly edgier than most of the stuff on Parachutes and true the mood more assertive - but where is the guitar solo that the song cries out for to lift it onto a louder plane? Where is the distortion on the guitar in its riff that would bring across the intensity?

Another example is God Put A Smile On Your Face: another that needed to be more daring. Listen to the potential in that haunting, semi-gothic guitar motif where the electric guitar comes in. Why not make more of this - instead the guitars in the chorus become floating and typical. Live this song becomes chaotic, with distorted, frantic guitar work and true energy. On record it sounds devoid of this.

Track 7, Green Eyes, meanwhile, is the only song on the album which is actually bad. Its poor drab that reminds of Travis: the epitomy of playing it safe and failing to experiment in any way. The title track could be the exact opposite: everything about it: its chord sequence, the lyrics and the mood suggest a song which is bleak in tone and very dark. Again, live, the chorus guitar is madly distorted. Yet again the studio version is crushed with the guitar becoming floaty and boring.

The really gentle songs on this album are satisfying because you know thats what they're meant to be like, but the ones with a hint of menace are infuriating because they've been brought down to the gentleness of the other tracks.

Overall, this is a lovely album, and as a record in itself deserves 4 stars, but the frustration I felt at how great it could have been if Coldplay had dared to do what they really wanted and got that onto the record means that I can only give it 3. Nevertheless, the hope is that with the next record they will be established enough to be allowed to try something broader and give these songs the arrangements and production that really suits them.

I just watched this film for the first time and felt so strongly about it that, at ten past midnight, I've logged on to amazon to review it. A Beautiful Mind is in turns fascinating, beautiful, devastating, heartwarming and life-affirming. Ignore any bad reviews of this film; it is simply unforgettable.

It is directed extremely cleverly with the way we see things from Nash's perspective for the first half of the film only to realise everything in the second half. I don't wish to ruin it for people by going into further detail over that point, but it truly is amazing. Crowe turns in a superb, sensative performance which really brings out the character perfectly.

This film is not plain sailing all the way through. When we realise about Nash's state, I was emotionally devastated after what had been built up in the prior half of the film. The turns of the plot were from then heartbreaking as we see the problems that ensue and I felt absolutely heartbroken and while realising that the film was a great one, almost wanted to turn it off because of how it made me feel.

However, I knew if I left it I wouldn't ever see the rest and so I stuck at it. I didn't regret it, as the closing of the film is heartwarming and emotionally soaring, and for once didn't leave me complaining about cliches and trying to make the audience feel better, a complaint I often have about happy endings for sad films. This is partly because A Beautiful Mind is, of course, a true story, and that truly leaves the viewer uplifted.

This film is a total triumph. 5 stars.

I'm not usually a fan of artists such as Madonna. My own preference lies mostly in rock and soul. However, this truly is a great album by a which puts most other mainstream pop artists, and some of Madonna's other work, to shame. Producer William orbit does a fantastic job of guiding Madonna's music into this beautiful and rich vein, but I truly believe that it is she who makes the album what it is. Her voice has never sounded so sensual as on the stunning tracks on display here.

Beautiful, swimming melodies float in and out of the album as the mix is peppered with techno effects, ambient keyboards and dance beats. The tracks range from the chilled, spiritual 'Drowned World' to the dirty electro-rock of 'Candy Perfume Girl', the ethnic experimentation of 'Shanti/Astangi', the classic tune of 'Ray of Light', the more straightahead, guitar ballad 'Swim', the wonderful, affecting melody of 'Frozen' and above all the album's stunning centrepiece, 'Swim', which truly achieves her aim of making techno-style music emotional.

This is an exceptional album. 5 stars.

I am a relative newcomer to the Stones, having heard only a few of their most popular songs. While rooting through my Dad's record collection the other day I found Goat's Head Soup. Despite hearing that its not the first one to get into I couldn't help but listen. While I wasn't expecting to be blown away judging on the comment of others, I was somewhat disappointed.

There are some great tracks like the gorgeous 'Winter', which in my opinion is better than any of the Stones big hits I've heard, the beautiful 'Angie', the chilled number 'Coming Down Again' and the brilliant '100 Years Ago' which starts out as a bluesy ballad before morphing into a funky, thunderous rock section with fantastic wah-wah guitar.

Yet there are some real duds. Dancing With Mr D, as many before me have noted, is a poor choice of opener, while some tracks are simply boring and stupid, like Hide Your Love, and the horrible, cod-country of Silver Train is almost unlistenable.

Overall, I am still looking forward to checking out the whole of Let It Bleed and Exile on Main St, as Goat's Head Soup has shown me that at times the Stones can be brilliant. However this particular album is not one that I can choose to listen to from start to finish and stay engaged with.

Marvin Gaye's 'What's Goin On' is one of those albums so warm, inviting and engaging that its draws you in from your first listen and begs to me replayed. From the genre-defining, perfectly soul-pop of the title track, which shows off Gaye's fantastic voice to its best, to the free-flowing jazzy epic 'Right On' and the stark, closing 'Inner City Blues', this is a real masterwork.

It is a beautiful, flowing masterpiece of a work; fitting together so perfectly. This is the kind of album for every person, even those who don't like soul generally, calling to mind hopes, dreams and love. The lyrics are also both socio-political (What's Goin On, Mercy Mercy Me) and religious (God Is Love, Wholly Holy). Gaye also shows off his worth as a brilliant producer. No collection is complete without this album.

Adore is not a step backwards in the Smashing Pumpkins' career. This album may be less grungey and aggresive than Siamese Dream and Melon Collie, but it certainly isn't any less dark, with the new beautiful sound equally haunting. The styles here are mixed, and some tracks are simply acoustic, but the overall feeling is one of that paradox of genres, goth-pop. Its influences are such bands as Depeche Mode, Joy Division and The Cure. Ava Adore, Daphne Descends and Tear all use this sound.

Tracks like opener To Sheila, Once Upon A Time and Behold! The Night Mare are less dark, but there is still a haunting feeling underpinning their pastoral beauty. For Martha is the only track which could really have fitted on an earlier Pumpkins album.

Some people who see dark music as simply thrashing music misunderstand this CD, seeing its techno, indie and acoustica as a sell-out, but the fact is, commercial this is most certainly not: in fact this surely is the most complex and difficult of Pumpkins albums. Nevertheless, its one of the most rewarding, and makes far more interesting listening than Melon Collie Pt 2-but-not-as-good would have. Tremendously under-rated.

This is my Dad's favourite album of all time, and now I've discovered it, I love it too. When listening to this album you have to remember how new this all was in 1967. From the minute 'Break On Through' explodes through the speakers in a rush of guitar and organ you know how great the album will be.

The Doors constantly pushed boundaries, bringing in the concept of radical covers which arrange and alter traditional songs on 'Alabama Song' and 'Back Door Man', using long instrumental improvisatory solo sections on the classic 'Light My Fire' and virtually inventing the huge, long epic with 'The End', which exceeds 11 minutes and is surely one of the greatest tracks of all time as a lyrical and musical journey.

This album works so well as a full experience, played from beginning to end on original vinyl. The way it evokes a whole mood and culture is breathtaking. Each songs adds a new layer to the experience, standing up as a great cut. 5 stars.

This album is that rarest of beasts: one that will bridge every generation gap and bring in new listeners over and over again. I remember my parents playing old Dylan tapes in our car when I was little. I remember hating them, and calling for something more modern and horrible. Then a few years ago I was in my parents' living room and Dad put on his original vinyl copy of Blood On The Tracks, only for me to find it was a sound I now loved.

Now this album has become one of my favourites ever. The songs are beautiful, well-produced, warm and engaging. The sound of the original vinyl coming on with the first notes of 'Tangled Up In Blue' is still thrilling every time. The album progresses wonderfully, showing the true value of the days when albums were intended as complete works of art, to be played from start to finish. Rather than just being a collection of songs, this album evokes a mood as a whole. Each song adds another layer to the greatness of the album, from the slow, stripped-down 'Simple Twist Of Fate' and 'Shelter From The Storm' to the bluesy 'Meet Me In The Morning' and the epics 'Idiot Wind' and 'Lily, Rosemary and the Jack of Hearts'.

This is a seminal, classic, essential album which I hope will continue to be passed down from generation to generation. 5 stars.

New Adventures In Hi-Fi is one of my less favourite REM albums. Its certainly a stepping stone between the heavy rock of Monster and the experimental ambience of Up. However, it varies from track to track, so heres a trackbytrack.

How The West Was Won and Where It Got Us - **** - Impressive, haunting, scene-setting, bleak and innovative opener.

Wake Up-Bomb - ** - I don't like this track. It just doesn't sound right. REM did the heavy rock thing better on Monster.

New Test Leper - *** - A nice ballad, elements of Automatic present. Hard to love, however.

Undertow - ** - Experimental one. Interesting sounds, but doesn't hang together as a song very well.

E-Bow The Letter - ***** - The darkest thing they've done, absolutely beautiful, haunting and brilliant. One of the best lyrics ever.

Leave - **** - Starts all beautiful before moving into haunting, doomy rock. Impressive, slightly gothic sound.

Departure - *** - Sounds like stuff on Monster, but not quite as good. Almost spoken vocals in the verse, which are a feature of the album and getting slightly old now as a substitute for tunes. Backing vocal effect remind of Murmur era.

Bittersweet Me - **** - Really nice pop-rock song, the most obvious single on the album.

Be Mine - ** - Ineffective attempt at a Strange Currencies-style ballad.

Binky The Doormat - *** - Interesting as it sounds like a direct cross between Murmur and Monster, two very different REM albums. Still, more tune needed in the verse, and an awful title.

Zither - ** - Inconsequential instrumental which reminds of some of the stuff on Out of Time.

So Fast So Numb - **** - A cousin of What's The Frequency Kenneth. Nice tune, well crafted.

Low Desert - ** - Again, interesting, but not much of a song.

Electrolite - **** - Lovely ballad reminiscent of a more complex Nightswimming.

The only really brilliant track on the album, then, is E-Bow The Letter, but there are several other very good ones, and some misses. This isn't typical REM, but for the real great experimental album, get Up.