A film based on Fernando Arrabal’s 1960 play, an absudist update of the Crucifixion – Jesus is the lead in a garage band – should be dated by now. Its bizarre reversals of role and tone, its casual sex and even more casual cruelty, hark back to the style of earlier days, when WAITING FOR GODOT made tragi-comic meaninglessness both an art form and a social comment. The fact that…