Worry not. Sarah and Nyles are stuck in time, but screenwriter Andy Siara does inventive things with their cosmic staycation.

To call the film a vehicle for Hanks is no putdown since its Everyman hero possesses precisely those qualities of character Hanks is so adept at portraying.

It proposes something that so many films before it featuring the cliche, fearless American war hero do not: the need for an ‘interior life’ in order to win the battles that matter the most.

Not only does it fill in the historical gaps of wartime understanding, but it also, and perhaps more importantly, inspires one to greatness in the eyes of God.

While there are a few clunker cases of overacting, the cast is for the most part strong and likable.

For those who have not experienced it, watching the behaviour, the symptoms, a kind of physical jerkiness at times, some seeming lack of awareness of what is happening can be disturbing.

Audiences can identify with the women, although at many moments this is rather difficult, and can appreciate the continued hardships and challenges.

A word to describe the experience of this film is ‘harrowing’.

The staging is sparse but inventive.

How does it play? With the same verbal and musical fireworks as the stage version, and with the same emotional kick, which is rooted in the casting.

Such an editing decision not only gives the film a lopsided structure but also robs it of a more nuanced portrayal of the conservative team.

This is a glamorously-styled, sophisticated documentary about an ageing artist looking across his achievements to reveal the meaning of the name of Pierre Cardin.

Iannucci, with the help of an ethnically diverse cast, humorously translates Dickens in a modern way that amuses, rather than enthrals. The result is a gentler version than Dickens’ presumably intended.