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As you’d expect, he draws top-notch performances from his cast, particularly Geoffrey Rush who is a shuffling, grunting, explosively foul-mouthed joy as the artist and sculptor Alberto Giacometti.

But, despite a modest talent for evoking paranoia and generating tension, his execution is so clumsy that a film that clearly had aspirations to be another Inception ends up making that George Clooney dud, Tomorrowland, look good.

It begins – structurally, if not strictly chronologically – on Earth, or ‘Keystone Earth’, as it is known in the strange ‘multiverse’ we are being asked to believe in.

Nevertheless, thanks to Reynolds and Jackson, and a foul-mouthed cameo from Salma Hayek, it does raise a smile or three.

His mother and stepfather think the drawings he makes of his visions are signs of mental illness but, as they spill into his waking hours too, Jake is not so sure.

Basically, it comes down to wicked Walter trying to harness Jake’s ‘shine’ to take down the tower, and Jake – and an initially reluctant Roland – trying to stop him.

In a film in which echoes of The Matrix are never far away, it’s disappointing to discover that the story’s resolution comes down to ‘guns, lots of guns’. It’s also unedifying – particularly in the dangerous world we live in today – to see an 11- or 12-year-old boy being taught how to fire a gun and endlessly rehearse a mantra that ends with the line ‘I kill with my heart’. Rating: Somewhere along the creative line, the decision was apparently taken to turn The Hitman’s Bodyguard (15) from an out-and-out action thriller to a comedy thriller and, boy, doesn’t it show, particularly in the first third of this extraordinarily uneven production.

It’s why she’s spent her entire 18 years behind an airlock in her doctor mother’s architect-designed house.