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Parties are not always as fun as they look like they should be. The distinction lies in the realm between watching people have fun and actually having fun. Case in point: Groove. Set in San Francisco over the course of one night, this is the story of a rave, plain and simple. Preparation includes inhabiting an empty warehouse, finding the power supply, and sending out coded invitations. The movie kicks in as the party does, when people start arriving and the DJs start spinning. There's a nic! e moment early on when a cop shows up asking for the owner of the building, who is then taken on a tour of "a new Internet start-up." It becomes even funnier when the cop turns out to be smarter and more compassionate than anyone would expect. Writer-director Greg Harrison does a smart thing by focusing the story on David, a novice who's never been to a rave before, which breaks the story out of what could have been the suffocatingly insular world of rave culture. Unknowingly dosed by someone (his brother?), David is adopted by Layla, an attractive but lonely East Coast transplant who has begun to regret her party lifestyle. Other characters include a guy who's just proposed to his girlfriend, a college teaching assistant selling his own manufactured drugs, a nefarious lothario, a DJ who gets to meet his idol, and a gay couple having trouble finding the party. If the characters turn out to be just character types, that's OK because the movie itself floats by on its own high! -octane enthusiasm. Groove is light and frothy entertai! nment wi th a beat you can dance to. --Andy SpletzerA MIDSUMMER NIGHT'S RAVE: Life begins when the sun goes down for a group of party-prone friends attending an L.A. rave. The music starts and the dream begins as party-goer Puck gives them each a sample of his "love potion". This glowing green liquid fuels their inner desires and allows the friends to connect with their long secret loves during this night of dancing, lights, and unadulterated fun. The weather is hot, the music is pounding, the mood is electric and the stakes are high in this modern adaptation of Shakespeare's most popular play. ROOFTOPS: Academy Award Winning director Robert Wise has made one of the most innovative, action packed adventures ever filmed. This is the story of a young man named T, a misunderstood loner who has escaped the heartless streets of New York's lower East Side to make a life for himself on the rooftops of abandoned tenament buildings. T and the other homeless kids live by their wits at! an empty lot they call the Garden of Eden. In this rock 'n roll paradise, T encounters the alluring Elana. They are immediately attracted to eachother, and their passion soon grows into an explosive love affair. Unexpectedly, T discovers that Elana is connected with a ruthless street gang of killers. When he confronts her with the truth, T is suddenly caught up in a deadly, heart-pounding struggle.

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Dance culture, and the rave scene in particular, has been a potentially ripe film topic for years, so when Groove was released to heavy buzz at the Sundance film festival, Sony Pictures immediately saw a possible summer sleeper. With John Digweed making a cameo appearance, as well as a savvy mixture of featured music throughout the movie, Groove's soundtrack will do nothing but contribute to the film's success. West Coast dance fixture W! ish FM, a.k.a. Wade Hampton, serves as the film's music superv! isor, an d he comes up with a compelling mix that nicely parallels the momentum of the movie's broiling dance-floor sequences. Starting off with some light house, then darkening his touch into deeper, more trancing territory, Wish reaches a zenith with Digweed's "Heaven Scent," using its soaring keyboard refrain as a natural peak. There are peaks all over this record, though, as Orbital's "Halycon + On + On" and Scott Hardkiss's mix of Alter Ring's "Infinitely Gentle Blows," with its electrified vocal mishmash, provide ever-entrancing moments of turntable bliss. The movie's director, Greg Harrison, has said he intended the film to act "as an authentic document of a time in youth culture history"--his movie's soundtrack is definitely that. --Matthew Cooke Parties are not always as fun as they look like they should be. The distinction lies in the realm between watching people have fun and actually having fun. Case in point: Groove. Set in San Francisco over the course of ! one night, this is the story of a rave, plain and simple. Preparation includes inhabiting an empty warehouse, finding the power supply, and sending out coded invitations. The movie kicks in as the party does, when people start arriving and the DJs start spinning. There's a nice moment early on when a cop shows up asking for the owner of the building, who is then taken on a tour of "a new Internet start-up." It becomes even funnier when the cop turns out to be smarter and more compassionate than anyone would expect. Writer-director Greg Harrison does a smart thing by focusing the story on David, a novice who's never been to a rave before, which breaks the story out of what could have been the suffocatingly insular world of rave culture. Unknowingly dosed by someone (his brother?), David is adopted by Layla, an attractive but lonely East Coast transplant who has begun to regret her party lifestyle. Other characters include a guy who's just proposed to his girlfriend, a colleg! e teaching assistant selling his own manufactured drugs, a nef! arious l othario, a DJ who gets to meet his idol, and a gay couple having trouble finding the party. If the characters turn out to be just character types, that's OK because the movie itself floats by on its own high-octane enthusiasm. Groove is light and frothy entertainment with a beat you can dance to. --Andy Spletzer