A film based on B.S. Johnson's novel of the same name, Christie Malry's Double Entry centers on a gent hell-bent on carrying out punitive expeditions -- ranging from petty to anarchic -- against those who have wronged him. Those not familiar with the work of Luke Haines, the composer here, should find the soundtrack to be an excellent companion piece to the film itself; film music phobes who are major fans of Haines' work in the Auteurs, Baader Meinhof, and Black Box Recorder needn't fret over the purchase. Seven of the 12 tracks here are "proper" songs; with the exception of the superfluous dance mix of "Discomania" ("Essexmania"), they all rate well with the remainder of Haines' output (read: highly). And the instrumental works are just fine. The opening "Discomania" is a graceful menace in the manner of the Auteurs' "Lenny Valentino" and "Light Aircraft on Fire," featuring a claws-to-the-back guitar riff and background atmospherics à la Black Box Recorder; a supreme torch job is done on Nick Lowe's "I Love the Sound of Breaking Glass," a song that fits into the context of the movie like a glove; two more barbed lullabies are added to the man's discography in the form of "England, Scotland and Wales" and "How to Hate the Working Classes." With the exception of an appearance by the Winchester Cathedral Choir on a version of "In the Bleak Midwinter," some occasional help on drums, and the ever-valuable assistance of longtime cohort James Banbury on cello and programming, everything you hear is made by Haines. Evidently, there's little doubt that Haines will be fielding offers from directors to work on soundtracks/scores in the future. Like other rockers John Cale and Barry Adamson, he's made a successful jump into film music with little difficulty.