Reviews

Superior sword-slashing spectacular with powerful performances

All-acoustic deconstruction of singer-songwriter's career highlights

Tasty offbeat debut from bedroom-dwelling electro-funk fanatics

Exquisitely frosted debut from Toronto's Tony Dekker

Undeservedly obscure synth duo reappraised

Louisiana legend hits the comeback trail

BFI re-release of cult classic plays London before rolling across the country

The definitive American indie-lite film from '93, made by a pre-schmaltz Lasse Hallström and starring a young Leonardo DiCaprio, this has an affecting warmth and wit. Like an anti-David Lynch movie, it sells smalltown Americana, via Johnny Depp's harried protagonist, as a confused, idiosyncratic but always humane place. John C Reilly and Crispin Glover provide heavyweight back-up.

To explode a myth: in 1966 Antonioni's first English film was pitched not on the Italian director's vision or its meditations on the interface between reality and fantasy, but on its 'unflinching' portrayal of Swinging London—ie, much nudity. The original trailer, included here, makes that perfectly clear: it was popular because of breasts, not because it asked what 'meaning' meant. And photographer David Hemmings' romps with models and Vanessa Redgrave remain icons of "yeeeah, baby" wish fulfilment for lensmen everywhere.

Sharon's cancer treatment underlies these episodes, producing scenes of poignancy and humour as the family come to terms with her illness. Obviously darker than its predecessor, this also sees a certain loss of naivety, with the Osbournes increasingly aware of good camera moments. The success of the first series has led the teenagers into extreme territory, with Jack, the "man-whore", heading off the rails while Kelly struggles with celebrity.