“If you watch modern music documentaries, you have all these talking heads who explain it and lead you by the hand through the whole thing, but in this, the music envelopes you, there’s no chat.” These words by Joe Boyd, one of the producers on Aretha Franklin concert film, Amazing Grace, sums up, with incision and pure, matter-of-fact concision, what sets it apart in one fell swoop. Originally directed by the Oscar-winning Sydney Pollack, and later predominantly realised by producer Alan Elliott, it is an experience that is revelatory in all the right places. Capturing the Queen of Soul as…
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Mentally divorce, for a moment, music from Richard Kelly’s Donnie Darko. You’re still left with a genre-defining film. A contemporary indie classic. A movie blurring the lines between horror, black comedy, teen drama and cult sci-fi mind-bender. Put it back – Michael Andrews’ motifs brimming with vintages Moogs and electric vibraphone, alongside era-defining jams from Tears For Fears, Oingo Boingo, Echo & The Bunnymen and more – and you have a near perfect big-screen encapsulation of a particular breed of ’80s suburban ennui. Despite its lacklustre performance at the box office, Donnie Darko was, of course, a runaway critical…