Reviews

Saucy street-funk from the dream-life of Riley

Best album in years from British eccentric

Former Lone Justice leader turned solo artist returns with her first studio album in seven years

Bernard Herrmann. To any soundtrack devotee the name's sacred. From Psycho to Taxi Driver, his music made good movies great and great movies greater. Here he even caused a rubbish film to linger in the collective memory. Flying saucers and robots were '50s cinema staples, spawned by a real public fear of science (in the aftermath of the atomic bomb). Robert Wise's 1951 sci-fi message movie (war is bad) would today look more hilarious than it does were it not for Herrmann's tonal and symmetrical score. Conducted by Joel McNeely, here it's been recorded in digital sound for the first time.

Intriguing, literate return by '60s folk icon

Classic albums re-released with many bonus tracks

Fine if sometimes obscure music-making from fiery Scots legend

Lavish best-of for classic late-'60s funk band

OPENS APRIL 11, CERT 15, 77 MINS Damien Odoul's debut feature is a coming-of-age film with a difference. Shot in black and white, full of violent and surreal imagery, it has more in common with the movies of Buñuel and Vigo or Arthur Rimbaud's poetry than with any conventional teen movie. Alienated teenager David (Pierre-Louis Bonnetblanc) lives on a remote French farm with his uncle. The older farm hands decide to get him drunk for the first time.

Described by its proto-feminist French director Virginie Despentes as an attempt "to seize woman's true sexuality back from the male gaze", Baise-Moi is therefore a visceral, explicit re-imagining of the road movie (Thelma And Louise with cum shots), buffered by chunks of jaded '70s film theory. Too inept to be engaging, too light to be controversial. A mess.