By taking her sweet, subtle time to tell the story of a Hollywood child (Elle Fanning) spending time with her neglectful movie-star daddy (Stephen Dorff), writer-director Sofia Coppola defies American audiences who want their films like their food: fast. Got to love the Coppola resistance. She gives Somewhere the hypnotically deliberate pace of a European art film, as Cleo, 11, hangs with her father, Johnny Marco, around L.A.'s Chateau Marmont. The two play video games, slouch around the Chateau lobby and pool, and jet off to an awards show in Milan. Cleo ice-skates; Johnny invites two pole dancers to his room. Through the awkward boredom, we are meant to discern a relationship between a man in crisis and a daughter on the cusp of womanhood. Dorff and Fanning could not be better at embodying those states. As in Lost in Translation, Coppola keeps an eye out for the broken places. That's when Somewhere is really something.

“All Along the Watchtower”

Jimi Hendrix got hold of Bob Dylan's early John Wesley Harding tapes and in late 1967 recorded a version of "All Along the Watchtower" with the Experience in London. Dissatisfied with that first development, Hendrix brought those tapes with him to New York in early 1968 when he began work on Electric Ladyland. Eddie Kramer, Hendrix's engineer at the time, told Rolling Stone that Hendrix "was still looked upon by his basically white audience as the mammoth black guitar hero. There was a constant fight within him to expand himself." Hendrix's successful take on Dylan's work has long been recognized by the songwriter. "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way," Dylan wrote in the liner notes to his Biograph box set. "Strange how when I sing it, I always feel it's a tribute to him in some kind of way."