[Bridges'] handsome, effortless charisma is on full beam as Preston Tucker, an American car entrepreneur during the 1940s.

Tucker works well enough on a purely emotional level to become a resonant film. And its naivety is in certain ways its strength.

Tucker's style, like the film commemorating him, is that of a story-board artist turning life into instant wish-fulfilment. All posture, no depth: all good looks nothing behind them.

It's brilliant but flawed, beautiful to look at, often hard to relate to.