Very well executed

Best movie ever!

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

One of the best movies of the year! Incredible from the beginning to the end.

What about DJ Cash Money??? This film fails in part by not covering the mid to late 80s. There was only a small mention of DJ Cheese in 86.Also, it's Grandmixer "DST", not "DXT"!!!!!

As one who is generally unfamiliar with the hip-hop scene but has tried spinning, the movie does a great job of presenting turntablism as an art form. It also did a good job emphasizing that hip-hop is meant to be fun, and it is by no means about the rough-and-tumble gangsta rappers of years past.Despite the long list of DJ's listed on the marquis, this movie was pretty much about scratch deejay extrodinaires Q-bert and DJ Shadow, with cameos from many others including Afrika Bambaataa, Mix Master Mike, DJ Craze, and Grand Mixer DXT of "Rockit" fame. I got the feeling that the whole movie was just a compilation of interviews, and Q-bert happened to be the chattiest among them.Director by Doug Pray - who previously did Hype! (about Seattle grunge of the early 90's) and American Pimp - put together a film that I thought was of much higher quality than the other dj movies "Groove" or "Better Living through Circuitry". However I found the stream of interviews, and lack of drama got a tad tedious, making the 87 minute-long movie seem more like two hours. (Of course it is a documentary).The mediocrity of the interviews was nicely interrupted by quirky references to intergalactic beings; repeated cut-ins of the first MTV-ised scratch in "Rockit"; and some funky cinemetography that made the film visually interesting, and even funny. For scratch dj' in the know however, the presentation is begging for some of the nitty gritty how-to's that would make this documentary a bit more meaty.My favorite scene? Record digging with DJ Shadow as he explored the dusty, low ceilinged basement archives of a record store. This scene added an element of reverence to the act searching out vintage beats, and helped me understand why Moby *hires* people to dig for him.Although I was so fortunate to see the film at the Red Vic - right next door to Amoeba Records (featured in the film) - with a house that was probably full of SF's finest djs, This film is probably best watched at home - with decks at the ready. Even novices just might have the urge to walk away from the movie now and then to give scratching a try after watching how its supposed to be done.

This film is essentially for those who have had little or no introduction to hip-hop, specifically turntableism, as was the case with the director before he started this film. It was cool to have it focus on the bay more than expected, because NY is always getting all the credit, but comin from the bay the Q-Bert worship is a little out of control. This film didn't introduce anything new to me, but it did change my opinion in that going into it I was sketchy about the prospect of giving the tables the distinction of being a bona fide instrument. This film ought to convince anyone that it's right up there with the viola and clavichord.

Just seen this at the Cambridge Film Festival - UK premiere.Scratch is very well researched, has in-depth interviews and contains some superb footage (especially Herbie Hancock doing Future Shock live). There is no doubt that this film is aimed at a very specific audience, who will absolutely love it! The entire documentary emphasises the importance of the dj throughout the development of hip-hop. As with any good culture, hip-hop has now been absorbed and appropriated by the commercial mainstream. Doug Pray pays respect to the originators and innovators who still rock the crowds with a pair of turntables, a mixer, stacks of vinyl and phenomenal dj skills.However, given the incredible diversity of hip-hop, it was a shame that Pray didn't offer a wider view of this fascinating culture. In the last decade, for instance, some really inventive vocal styles have developed and artists such as those in the Anticon collective, Kool Keith, Company Flow, Infesticons and Mike Ladd didn't get so much as a mention.Even if you haven't got vhs tapes of the DMC World DJ championships adorning your shelves, this documentary is worth catching if only to see various dj's reminiscing about wrecking the stylus on their parent's turntable in their youth!