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When you see this movie you really understand how sanitised, safe and corporate the music scene is today.

The Stones were possibly the biggest band in the world at the time, so by today's standards it seems unbelievable they'd put on a free concert where the venue was changed at the last minute, the set was still being constructed as the 300,000 very fried looking hippies turned up, and there was no security for their satanic majesties except for the San Francisco Hell's Angels who were paid in beer and brought along pool cues with lead weights at the end for added security - as well as the standard knives and baseball bats. And they weren't afraid to use them, even on the bands, especially Jefferson Airplane's Marty Balin.

Throw in some of the original Satanic rock band's finest sinister creations and you get the real deal, not some pantomime metal/goth horror facsimile. At the time many people really did believe that they could change the world and looked to bands like the Stones as leaders of the counterculture, and you really get the impression things like this mattered a hell of a lot more, but after Altamont, well...

Nevertheless, the version of Under My Thumb that Jagger delivers as he's watching the terrible action unfold in front of him is, for whatever reason, devastatingly understated and desperate, compared to all the OTT cavorting earlier in the set. But it's the genuine craziness of the 'fans' that makes this film seem like it was shot on another planet. Gimme Shelter is the most rock'n'roll film ever made, for all the right and wrong reasons.

i can just imagine the pitch to the studio for this movie...

pitch: OK...we're gonna remake Hair for the new millennium.

studio: who'll buy that? it's 4o years after the fact. it's totally irrelevant. it's clichéd and cheesy. the ending is depressing.

pitch: well, we're gonna take out all the depressing bits, tag on a happy ending. we won't even need to hire a scriptwriter!

studio: great. but we'll have to commission someone to write a soundtrack.

pitch: no we won't we'll crib the beatles.

studio: how will that work?

pitch: well, when you see a revolution going on we'll sing 'revolution', when there's a guy called Jude we'll sing 'hey jude', we'll sing 'strawberryfields forever' when you see some, er, strawberries.

studio: great. just one thing.

pitch: what's that?

studio: can you put bono in it?

pitch: sure.

i'm sorry if you like this movie. i really am.

This is possibly the worst film i have ever seen. I actually saw the premiere in Rotterdam Film Festival, and whilst many people walked out I stayed to the bitter end. But that was mainly because I didn't want to lose my friends. Self indulgent is a word often overused in the arts, and some of the best music and film is incredibly self indulgent, but behind that indulgence there is often genius. Unfortunately here there is nothing, not even a plot. The mistake the director Simon Rumley makes is to dwell on the suffering of the characters, all in a kind of 'gross out' adolescent way, without any insight, or any freshness. All the best films now tend not to be so mawkish, making The Living and The Dead seem like a bad student project from the 1970s. There's no lightness of touch here and no humour. Perhaps we're supposed to laugh at mentalist James in the same way we laugh at Julian Donkey Boy. But he's just not that funny and he has none of the demented hilarity of Donkey Boy. Like the rest of the cast, he's just a stereotype, an extremely annoying stereotype. All you'll learn from The Living and The Dead is that some people clearly have much more money than sense. And I'm not talking about any of the characters in the film here.