Reviews

The band who make Slipknot look like S Club Juniors

Texan roadhouse rocker still displays true grit

Better-than-expected debut from All Saints sisters

Second ill-fated album from New York indie crew

Brilliant piano trio music from 1981

Scrag ends from Sonny & Cher of Antifolk

Lee's lofty adaptation of gritty 24-hour crime novel takes on the shadows of 9/11

Priest gets laid. Slowly. In Mexico

When compared to Baz Luhrmann's hysterical synapse-splitting kitsch, there's something strangely reassuring about Franco Zeffirelli's stodgy '68 classicist version of Romeo And Juliet. Here, the many pleasures include Michael York's fantastic cheekbones as Tybalt, a cherubic Bruce Robinson as Benvolio, and a plethora of badly choreographed sword-fights. Even the infamous shots of Olivia Hussey's 17-year-old breasts seem quaint rather than smutty.

Arguably the two most powerful kitchen-sink dramas of the early '60s were both adapted from the works of author Alan Sillitoe. Saturday Night And Sunday Morning (1960), directed by Karel Reisz, provided British cinema with an equivalent to Brando thanks to Albert Finney's electrifying performance as marriage-wrecking factory-hand Arthur Seaton ("I'm a fighting pit-prop of a man who wants a pint of beer, that's me!"). But Finney perhaps lacked the surly sophistication of borstal boy Tom Courtenay in Tony Richardson's later The Loneliness Of The Long Distance Runner (1962).