Dead Snow 2: Red vs. Dead is the type of movie where even if an idea doesn’t work, its sheer audacity will make you laugh.

What was most surprising about Dan Snaith’s 2010 album Swim was that it was brilliant and predictable. Really, the sun-setting grooves and hypnotic rhythms of his finest moment as Caribou to date were always going to happen.

The most pleasantly surprising element of Rudderless is its soundtrack.

Driving home from the pub after one too many, police officer Malcolm Toohey (Joel Edgerton) accidentally clips a cyclist with his rear view mirror. The boy ends up in a life-threatening coma and within seconds, Malcolm finds himself knee-deep in a major moral dilemma.

Of the new sitcoms hitting the small screen this season, Marry Me is by far one of the stronger. It doesn’t stretch itself too thin working for laughs, but rather earns them genuinely.

Steve Ellison, better known as Flying Lotus, makes music that sounds like a melodic car crash. Each song finds jazz, hip-hop, R&B, forward-thinking electronica, and pop smashing together, but what should sound like chaos ends up (most of the time) as a cohesive whole.

Nashville 1995 captures Steve Earle at the tail end of his transition period from more traditional country guitarist to folk singer and roots rocker.

“We were Hüsker fucking Dü,” says that band’s former drummer at the start of Every Everything, knowing full well that the influential Minnesota trio was entirely worthy of the bravado.

Lately I’ve been celebrating the fact that Doctor Who has been successfully pushing itself forward by pulling the science fiction stuff back a bit to reveal a captivating character drama, but this week’s episode succeeds by delivering one of the most quintessential Doctor Who episodes this season.