The cocks may no longer be in socks but the Peppers remain hyperactive kings of white-boy funk, smack survivors turned mainstream mavericks. Their blend of infantile exuberance and brooding disdain shines in these videos. There's a Busby Berkeley routine for sleazeballs ("Aeroplane"), the definitive punk-junk ballad ("Under The Bridge") and the blood-drenched "Scar Tissue". MTV regulars don't come any more cavalier, or charismatic.
Like the preppy cousin of City Of God, this handsome crime flick from JoséHenrique Fonseca is set in Rio De Janeiro, but in the suburbs, where good-looking gringos kill out of curiosity rather than necessity. Unfortunately, it's also a world of paper-thin characters prone to morbid musings, and shot through with a non-descript pop-promo aesthetic.
Dazzlingly confident '96 debut from The Royal Tenenbaums' Wes Anderson which follows the misadventures of an eccentric gang of wannabe Texan mobsters. It immediately established the Anderson template: deadpan delivery, solid colours, Owen and Luke Wilson, strong musical soundtrack, immaculately cluttered production design, leisurely pace, iconic costumes, and an eerie sense of timelessness.
Everyone's favourite investigative smoothie Nick Broomfield updates his 1991 doc Selling Of A Serial Killer by re-cataloguing the tragic, shambolic life of Aileen Wuornos (from homeless woodswoman to vagrant prostitute to multiple murderer) and finally interviewing a clearly demented Wuornos only hours before her execution. More sombre than the usual Broomfield outings, but effective all the same.
Listen to Kate Rusby's records and her brand of folk revivalism suggests a rather serious and high-minded young woman. Yet in concert she's a revelation, interspersing sublime versions of traditional folk ballads with rambling but engaging introductions full of homely Yorkshire warmth and wit. Rusby makes folk music seem like fun again, and the feeling never flags throughout this 90-minute set.
Forget the awful sequels, spin-off TV show and Tim Burton's disappointing remake. The original 1968 movie, with Charlton Heston's astronaut stranded on a world where mute, dumb humans are enslaved by civilised apes, is a sci-fi classic, thanks to Rod Serling's subversive screenplay and that final, legendary shot.
This 1977 thriller—"All The Astronaut's Men", if you will—never delivers on its intriguing premise, infuriatingly. NASA fakes a Mars landing in a TV studio, then sets out to kill the crew to keep the truth a secret. James Brolin, Sam Waterston and OJ Simpson are the astronauts, Elliott Gould the journalist who comes to their aid.
In its 1946, Hays Code day, this adaptation of James M Cain's novel was provocative and erotic, although it was later out-raunched by the '81 Jack'n'Jessica version. This drips with textbook noir, and echoes Double Indemnity in both story and style. Femme fatale prototype Lana Turner tempts John Garfield to off her husband, but their comeuppance is inevitable. "He had to have her love—if he hung for it!"
There's a saying in the pubs of Dublin that there are only two kinds of musician—the Irish, and those who wish they were. The likes of Emmylou Harris, John Prine, Richard Thompson and the Everly Brothers prove it by lining up alongside some of Ireland's finest in 20 performances designed to showcase the global influence of Celtic music.
