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Lucy Russell in particular puts in a fascinating and nuanced performance.

You'll be lucky to see another film this year as absorbing and evocative as Atonement.

Much Ado About Nothing was like being given a surprise invite to a lavish summer party in Tuscany; this feels more akin to being trapped in a 'back to nature' weekend theatre workshop where the actors are having a lot more fun than you.

In its early stages, the film stands up pretty well. It’s when it reaches the blackmail stage of the story that it falters.

Earwig invites you to listen, to put out feelers, to scurry.

The performances are flawless, the story laced with black humour.

A refreshing take on the usual period drama cliches, with a dry wit and a refreshing realism leavening the lush romance.

It is a striking audiovisual style which rescues this production from many of the more hackneyed tropes of British social realism and urban grit.

A stunning doom-laden score manages to imbue even underwhelming moments with a sense of both unease and unexpected pathos.

Essentially, the film is weak on detail and strong on personality, although, even that, promises more than it delivers.

Renaissance is blessed with a script that not only feels like genuine noir rather than a hastily written pastiche, but also is not subordinated to all the visual razzle-dazzle.

All message and no massage

The film looks magnificent and the performances, particularly from Witherspoon and Atkins, are exemplary.