A new book is the most important yet on contemporary South African art, writes Shaun de Waal.

<b>NOT THE MOVIE OF THE WEEK:</b> <i>Miami Vice</i> Michael Mann’s reinvention of Miami Vice feels like a hundred other, more recent TV cop shows, writes Shaun de Waal.

MOVIE OF THE WEEK: My recollection of a country unified on at least one issue came back to me while watching Jason Reitman’s debut feature, <i>Thank You for Smoking</i>, writes Shaun de Waal.

How are South Africa’s senior white male poets dealing with the world? Shaun de Waal looks at three new collections.

<b>MOVIE OF THE WEEK</b>: George Clooney’s new oil-industry drama, <i>Syriana</i> offers engrossing and informative viewing, writes Shaun de Waal.

<b>DRAMA OF THE WEEK</b>: Shaun de Waal reviews Richard E Grant’s <i>Wah-Wah</i>, a labour of love that required much patience and persistence.

<b>NOT THE MOVIE OF THE WEEK:</b> The lack of substance in <i>The Island</i> can’t be disguised by it’s big budget and the film leaves one with a distinct sense of pointlessnes, writes Shaun de Waal.

<b>MOVIE OF THE WEEK:</b> Director Bryan Singer has managed to make the usual Superman superheroics, in <i>Superman Returns</i> feel fresh, and the computer-generated imagery is superb, writes Shaun de Waal.

<b>MOVIE OF THE WEEK:</b> While not an uplifting experience for the moviegoer, <i>Vera Drake</i> makes for a touching, sometimes funny, and in the end strangely satisfying movie, writes Shaun de Waal.