Search: Starring Armie Hammer

Parker's reductive approach, more concerned with creating a hero than depicting a man, means it never achieves the impact that it ought to.

It is fundamentally a film about the workings of infatuation with a charmed fever that contaminates its characters.

It has a kick in its heel and a nice surprise at the end

There's the sort of amount of material here that used to form the basis for an entire series of The Shield, so even with a running time of two hours, it's difficult for anything to be dwelt on in detail.

Just because you signal to an audience that you're purposefully making them watch paint dry does not make the experience of it any less tedious.

The director resembles a sniper who remains unseen, but whose presence can nonetheless be felt.

Patel and Kher are worth the price of admission on their own.

You can't help feeling British audiences may well embrace the film's oddness - and blatant anti-American stance - which while not always successfully executed, means there is rarely a dull moment.

Car chases and retro dialogue clog up the machinery

Ultimately, this is a disappointingly lifeless missed opportunity.

This is a study of bitter, sorry people hurting each other using ancient memories, propelled like bullets via the power of fiction.

What could have been preachy is fascinating.

What is fatal is to make the mistake of thinking, because Hitchcock built up his illusions so well, that this is a story about nice people.

I've seen it described as a film with a twist but that suggests it's got just one. It's full of them, it's made of them, it reels and gyres and tumbles into something special.