My favourite movie.

The perfect marriage of Baz Luhrmann's hyperkinetic, in-your-face, riotous cinematic style with Shakespeare's stirring, crowd-pleasing source material; not just an astonishingly fresh take on a centuries-old story but one that most potently captures the intensity of teenage emotions: euphoric highs and devastating lows, agony and ecstacy and the frenetic, wholehearted rush towards whatever fate might have in store for you.

The opening prologue that plays like a trailer for the film itself, its succession of quick cuts…

Beautiful to look at and charmingly sincere; Norah Jones is perfectly cast. I found the clunky, stagey dialog a bit distracting, and the whole film has that slightly alien feeling you sometimes get when a director does their first feature outside of their cultural comfort zone – but for the most part it works, carried along by Jones's natural, guileless presence.

2007 isn't really that long ago but in some ways this feels like a period piece set in the…

Offensively stupid on multiple levels, a movie by people who think real rape-revenge films are beneath them while condescendingly co-opting those films' transgressive impact – but they can't even get that right, because any feints towards real violence are effectively neutered by some goody two-shoes bullshit where Carey Mulligan surprises would-be date rapists by giving them a stern talking-to instead of cutting their dicks off. (And let me tell you, as someone who has had their fair share of interactions…

Barely a movie, more like a jumble of tenuously connected scenes moving incomprehensibly backwards and forwards in time, with a tone that aims for exuberance but feels like hours of incessant high-pitched screaming. Borderline unwatchable if you're not intimately familiar with the source material – I'm not, and I think this assumes its audience is. I can't think of any other explanation for why Gerwig would go for this baffling structure. Nothing is allowed to develop naturally, every scene operates…