In brief: the underground rave culture in San Francisco is given the touchy-feely treatment in Greg Harrison’s Groove, a sweet, disposable concoction that at times resembles one of those sixties American International Pictures like The Trip, with some Frankie and Annette thrown in, and at other times resembles a seventies disco flick. Despite all the drugs ingested, everything going on inside the warehouse during this all-night odyssey is a lot closer to chill-out than to freak-out. Located somewhere inside all the techno-thump is your classic boy-meets-girl scenario. Some things never change… . If ecstasy is the drug of choice in Groove, then Kenneth Branagh’s Love’s Labour’s Lost seems to be high on Halcion. He’s taken Shakespeare’s peerless piece of frivolity and revamped it into a frothy thirties-Hollywood musical complete with song-and-dance numbers by Cole Porter and Gershwin. The froth quickly curdles.