Young stud hits L.A. intending to screw his way upward by nailing rich cougars. Yes, we've been there — American Gigolo, Shampoo, Deuce Bigalow. Now Ashton Kutcher has a go at it. Director David Mackenzie (Young Adam) lays on lots of hot naked bodies. Thank you, man. But the script by Jason Dean Hall turns Kutcher's character, Nikki, into a boilerplate setup for a fall. Nikki moves in with Samantha (the excellent Anne Heche), a 40-ish lawyer living large in Hollywood. But when she's off premises, he's banging younger flesh, in her bed. Nikki is bound to meet his female equal (Margarita Levieva) and take his lumps. Props to Kutcher for going to surprising, painful places. There's something haunted in his portrayal that hits hard and sticks.

“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."