An unashamedly old-fashioned romp through World War I on the back of a horse named Joey, Stephen Spielberg's interpretation of Michael Morpurgo's novel is part sentimental family film and part brutal and grisly war epic.

Martin Scorsese's first 3D film is a mesmerising, enchanting affair based on Brian Selznick's imaginative book The Invention of Hugo Cabret.

Director Gus Van Sant has hit the bullseye in the past with films about teen angst and worse - from Good Will Hunting to Elephant - but this one quite misses the target.

The title makes the heart sink. The American habit of adding "William Shakespeare's" to Romeo and Juliet or specifying "Berlin, Germany" so we won't think they're referring to any of the 21 small towns so named in the US is infuriatingly self-absorbed.

Equal parts Fellini and Woody Allen, Di Gregorio's follow-up to 2009's Mid-August Lunch doesn't have quite the same freshness - it's slightly less compact, despite its short running time - and is more contrived than the earlier film.

On the face of it, news that nu-metallers Korn were dabbling with dubstep sounded like the worst kind of bandwagon jumping imaginable.

Sometimes in metal and heavy music circles the use of keyboards can sound contrived - and even a little lightweight and wimpy.

Vile invites you into his world with his seemingly stream of consciousness lyrics, self-deprecating optimism on life and a no-gimmicks-required songwriting ability.

Oscar Kightley witnessed Run-D.M.C. play The Powerstation in Auckland on 18 November 1988.