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The set-pieces are sporadic – but always exciting and kinetic.

Coppola's aesthetic is all about excess and lacks the self awareness that let Hammer Horror films get away with this.

The film's charm is the feeling of spontaneity and randomness.

Jarmusch usually manages to invest his films with a quirky sense of humour, but here the lines fall decidedly flat.

If the story of a stranger arriving to try and save a beautiful young woman sounds like a familiar fairytale, beware - this is Gilliam's work after all, and nothing is quite as it seems.

The film doesn't know what it's doing, or where it's going.

Its hyperreal colours and iconic tableaux ooze retro chic.

If Tucker hadn’t been a real person, you would have had had to invent him so Redford could play him, so perfect is the fit.

This is not so much a study in stereotypes, courtesy of Jimmy Dean’s legacy, but a love poem to the restless, doomed, anarchic integrity of orphaned hearts.

McDonagh just about makes this ultra violent meta train ride all hang together.

Wristcutters isn’t a story of despair but of hope, moving on, and, yes, love.

Malkovich and Rockwell are magnetic.