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Ant bee

Phone Booth

Ingenious, high-concept thriller sees Joel Schumacher back on top of his game

Big Girls Don’t Cry

Veteran Louisiana-born country-soulster runs the gamut of musical styles and moods on her daring and dazzling follow-up to 2001's critically lauded Essence

Motor Boys Motor

What's left of The MC5 kick out those jams again with help (and hindrance) from Dave Vanian, Ian Astbury and a razor-sharp Lemmy

Insane Clown Posse – The Wraith: Shangri-LA

The band who make Slipknot look like S Club Juniors

Manchester Reunited

The homecoming Boy has come a long way

Simply Red – Home

Comeback attempt by Mr Hucknall with his first indie release in 20 years

Johnny Thunders And The Heartbreakers – L.A.M.F.:The Lost ’77 Mixes

Punk masterpiece gets restoration job

The Aislers Set – How I Learned To Write Backwards

Third from 'Frisco 'twee'-revivalists

Use Your Delusion

Twenty-first album from America's startlingly original lord of lo-fi

True Romance—Director’s Cut

The clinically style-obsessed Tony Scott might not have been everybody's choice to helm a Tarantino script just as St Quentin was white-hot (seems a while ago now, huh?), but he made a splendid 1993 pulpy pot-boiler which, in sum, outshines its pithy but disjointed parts. Christian Slater and Patricia Arquette are the doomed Detroit lovers-on-the-run with a suitcase of coke, negotiating baroque badlands after Slater kills sleazoid pimp Gary Oldman and his comedy dreadlocks. Everyone who's anyone turns up to harass the couple and their sad dad Dennis Hopper.
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