Patrick Sproull

There was room to do something ridiculous here – it bears repeating: this is a film about a killer whistle. Why is it taking itself so seriously?

As an account of Hudson the Hollywood party boy and lothario it is comprehensive, though those expecting a more complex account of the star’s inconsistencies may find themselves shortchanged.

What distinguishes Laure de Clermont-Tonnerre’s newest interpretation from its predecessors is its deft, mature understanding of what makes both Lady Chatterley and her lover tick.

The charismatic performances by Elordi and Edgar-Jones ensure that On Swift Horses is never less than watchable. They are both doing terrific work here, taking generous bites into material that does not match their commitment.

There is something strangely comforting about Red, White & Royal Blue, as imperfect as it is. It’s a romcom for the streaming era but it has a markedly different vibe to it because it’s fronted by two men.

The satire isn’t quite as sharp as you would hope though.

If you’re able to make peace with the faecal smears on the wall painted by a cackling Olivier winner known for her physical performances, The Front Room is an entertaining, morbidly funny slice of perverse B-movie exploitation horror.

The direction leaves much to be desired too; when the film veers into horror territory, with frequent off-screen kills and often incoherent action, it offers little of the original’s gripping tension.