Being a huge fan of hip-hop and turntablism to begin with, I always knew I would like this film. However, I wasn't prepared for just how good the documentary actually is. It covers almost all the important aspects of the only element of hip-hop which has been there from the very start. The "story" begins in the early 70's, and follows the evolution of turntablism as an art from up until early 2000 (turntablism aficionados will point this out as significant).The editing is nigh on perfect throughout the film. Aside from the excellent visual "scratch" techniques which they used, the rapid cutting between interviews and the stock footage is excellent, giving the film pace when it is needed. The sound editing is also very good, with some nice sweeping sounds being used to help with transitions.The absence of a narrator was also welcome. We aren't taken by the hand through the story, and as a result the audience is able to make their own assumptions easier. Each DJ adds another side to the story, and it is so interesting to hear about the unknown stars of hip-hop, especially those who were there when hip-hop was being shunned left, right and centre by the music business.Although there are many excellent things about this film, I do have a few gripes. The biggest of these is the absence of several notable DJs, such as Ca$hMoney and Jazzy Jeff, and also DJs from outside America, such as Scratch Perverts and DJ Noise. However, if you watch the commentary on the DVD (something which I highly recommend), producer and director go in to great depth about how they regret not being able to feature them. The deleted scenes contain many interviews with Ca$hMoney, Jazzy Jeff and the Scratch Perverts.This is definitely the best documentary I've seen on hip-hop culture and music. It does stop short of showing the true potential of turntablism; for that I highly recommend checking out the DMC and ITF videos. However, that is a minor quibble. I highly recommend this movie, not least for the phat soundtrack, with excellent music throughout. (9/10)

Wow - most of the audience just seemed to shake their heads through much of this documentary at the sheer wizardry displayed on screen.The shift from the early days as a New-York based black-American phenomenon to current days as a racially diverse subculture (and largely West Coast-based) is profiled well.The humble turntable is not given the respect of any traditional musical instrument, but it can be so much more versatile and technically complex. These DJs take the required skills for any musical instrument - dexterity, rhythm and timing, among others - and apply them to a new technology with several more variables.DJ Qbert's comment that he pictures what "music" must sound like on advanced planets and then works it out, seemingly silly at first, makes more and more sense as you watch these guys go and spit out a multitude of sounds that no single traditional instrument could ever create!Some critics have said that this film focuses too much on certain 'stars' and squanders an opportunity to profile the wider hip-hop culture. One film at a time people!

I'm not a fan of scratching, but I really dug this movie. It gave me a real insight into a world I never had a clue existed; and what else is a documentary for? Funny, clever, hip - just like Pray's previous film, Hype! about the grunge music scene.

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!