A multi-award-winning experience of what it’s like to live in constant fear, from rookie Hungarian director László Nemes
Cliched but touching tale of an optimistic rock'n'roll wannabe
The music industry of Svengali is portrayed – fairly – as manipulative, backstabbing, hype-chasing and out to suck dry and mercilessly crush the little guy. But it's also painted as dumb, impetuous and shambolic, which underestimates the meticulous machine he's trying to parody. But look through his 2D vision of the rock world and that's actually what makes Svengali a deeply touching experience. The film began life as Owen's self-made online series featuring McGee and Carl Barât, who also cameos in the movie. As we watch him relentlessly blag his band towards the big time, full of big-hearted belief, it's clearly an autobiographical reflection of his own determination to break //Svengali// into cinemas. It's what makes Dixie's fracturing relationship with his girlfriend Shell (This Is England's Vicky McClure) the real root of the film, their mounting financial hell perhaps born from experience. We're literally watching grass-roots ambition paying off. Martin 'Bilbo From The Office' Freeman's in it, for Christ's sake.
The soundtrack is a canny clash of heartland indie (The Fall, The Stone Roses, Bugg, Kane, Libs) and tasteful classic mod, soul and folk-rock (Small Faces, Dexys, Mott The Hoople, Big Star) that closes with the only track by the Prems, 'Letter Bomb', suggesting that all of the movie's hype and mania was over a clattery Who pastiche. But despite this, and the film's disheartening denouement, we're left feeling that Dixie's – and by extension, Owens' – wide-eyed optimism is something to emulate. Except the bit where he shoplifts NME. Put it back or pay for it, you scrote.
A disappointingly shallow dig into the soul of a man who should be on the edge, but isn’t
The A$AP Mob member’s second album is personal and poppy, and features a guest spot from his mum
LA/Vancouver trio White Lung soften the edges of their hardcore sound on their gripping fourth album
An over-sugared combo of Katy and big names in grime, techno, hip-hop and d’n’b