Reviews

New York punk trio surpass media hype with cataclysmic debut

First new work in six years. Todd Rundgren guests

First solo album in a decade from world's most famous producer

Third from 'Frisco 'twee'-revivalists

Respected Texan troubadour's eighth album

Long-overdue two-disc, 37-track compilation of Glasgow's missing link between David Bowie and Nick Cave

Bowie guitarist's Bowie-esque '74 debut

Handy primer on Ian Hunter's seminal '70s rockers

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.