Robbie Collin

There is some seedy, slinky fun to be had, all capably styled by director Michael Showalter with a lurid Brian De Palma-like sheen.

Risky art is often called a high-wire act, but Tom Cruise’s latest film really earns the label. Until it took its very last step, I honestly couldn’t have told you whether it was going to come off or splat headfirst into the sawdust.

Its warmth builds like an ache, and is enriched both by the three wonderfully complementary lead performances, and by an astute parallel storyline in which teenage Sara experiences early romantic love.

Cregger’s attempt to reverse-engineer this cinematically influenced series into actual cinema is unquestionably better crafted than any of the seven that came before it – or 14, if you count the abortive 2022 Netflix series and occasional computer-generated animations. But its approach to the task is so relentlessly flippant that it feels like an extended joke at the expense of both the beloved franchise and video-gamers more broadly.

You feel a soulful connection between actor and animal that goes beyond performance; whenever one instinctively helps out the other, manly tears are liable to flow.

This is Austen with the bonnets blown off – and all the better for it.

No gag appears to have been deemed too abstract or daft for consideration, and I mean that as the highest compliment. When

Gibney’s film is less a hatchet job than a blizzard of scalpels. For almost four hours, it jabs relentlessly at its target from multiple angles, and draws blood almost each time it strikes. Still, it is odd that a film this hefty (and Gibney makes a persuasive argument for its heft being merited) should also feel incomplete, and there are missing chunks that nag as Musk’s closing credits eventually roll.

It is the best and nastiest film of its type since 2014’s Nightcrawler: it leaves its audience simultaneously appalled and thrilled, and thereby grubbily complicit.

While new interviews with Liam and Noel ultimately reveal little, they prove neither brother has lost his flair for funny sound bites. But the point is the music – and specifically its lasting therapeutic power, as it simultaneously heals the Gallaghers’ years-long rift and brings together thousands of strangers in these supposedly divided times. If Liam and Noel can patch things up, there may be hope for us all.