On the intro tape, Johnny Cash's austerely remorseless "The Man Comes Around" sets the mood, then Colin MacIntyre's men come pounding out of the traps. For this mini tour, the school choir, feather boa and inflatable sheep of previous expeditions have been packed away, in favour of frill-free punk aggression.
OPENS AUGUST 22, CERT 15, 102 MINS
An uptight, emotionally constrained English lady crime-writer and a sexually aggressive Provençal bombshell, given to walking around butt naked: in his latest movie, François Ozon deals in archetypes. But having created characters who border on cliché, he then proceeds to subvert them by adding other, unexpected layers to their personalities.
From the same '96 sessions that produced Dowd's startling debut Wrong Side Of Memphis, these four-track recordings are the overspill. You'll find (slightly) more sanitised versions of some on Pictures From Life's Other Side (1999) and last year's The Pawnbroker's Wife, but these—in JD speak—are "the original bad seeds". It's mostly slow-stealth swamp blues, rendered fearsome and moving by his scowling delivery, sounding forever snagged on a barbed wire fence.
Dizzee Rascal is the best rapper this country's ever produced, period. His words are as sharp as prime Tricky, his delivery sharper; he's got bags more personality than anybody in the British rap scene. These local comparisons add up to faint praise, though, so how about this: 18-year-old, East London-bred Dizzee Rascal is as good as any MC currently active on Earth.
Every UK garage MC brags about how his style's unique, and virtually every MC does it using the same flow and timbre.
Abel Ferrara's excoriating study of how a man wallowing in his own filth at rock bottom finds the way to salvation. In an utterly naked performance as the corrupt, drug-addled, self-loathing New York cop unwillingly turned around by the rape of a nun, a desperately committed Harvey Keitel goes all the way. Then keeps going.
