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Disclaimer: I currently work as a physics researcher, so perhaps I should be offended when floppy Cox does his inebriated teenager 'guys isn't the universe amazing' shtick, but with this I couldn't help but laugh!

Brian Cox returns with his tuneful pal, Eric Idle of Python fame, plus a host of celebrities to put a musical spin on his usual lecturing style. Peppered throughout the hour of light entertainment are comic songs, informative interludes and a host of performances from many recognisable faces. The program takes on a similar studio/sketch show style to Morecambe and Wise - with these two stars brought back to life by two impersonators - with a live band and all the trimmings.

Although slightly out of place on the cabaret stage, Cox once again proves himself a skilled teacher with his usual insightful explanations. Sure, some of his jokes are cheesy and a bit forced, but he performs around more seasoned actors with surprising skill. He is joined by Monkey Cage collaborator, Robin Ince, who also brings his comic background to the party.

The rest of the cast feature 'old hands' such as Warwick Davis and Hannah Waddingham, who clearly seem to be having a good time with the pieces. Again, there are some jokes that fall flat, but overall the cast pull together a fun and enjoyable evening of physics.

Highly recommended, but don't take it too seriously!

I will begin with the positives: technically this film is brilliant, the visuals are enchanting and the acting is very strong. Iñárritu's choice of a higher frame rate, larger aspect ratio and very little colour grading combined with the 'tricked' single shot style make this film a masterpiece of cinematography - definitely a film to consider for film schools. These choices pull you into the story and give it a realism usually reserved for action movies - cleverly jarring with the Birdman 'references'. Furthermore the brittle and enigmatic relationships are brilliantly performed and worth watching.

However this film completely falls apart narratively. No characters are likable leaving the viewer uninterested in the plot - despite the gripping visuals. The superhero nature of Birdman is not explained and referenced far too weakly, barely figuring in the story. A few flashbacks jar with the story and the 'big reveal' doesn't carry any weight as I find myself simply uninterested in Keaton's character.

I found the set design and choreography of the camera and actors - changing 'scene' by transitioning around the set - intriguing, especially how the director handled complexity. However there were simply too many threads to the plot, none appropriately explored and too many 'messages' to really handle. Did it deserve the Oscars? Well for screenplay, absolutely not. There were moments of sparkling dialogue but the plot felt far too weak to deserve this Oscar. (Certain brilliant lines were lost by traditional Hollywood mumbling, a shame.) Best director? Again, the control of camera and actor - this choreography - was brilliant. But as a director of dialogue Iñárritu completely failed, many great lines were simply lost - again this was undeserved. Best motion picture? Whiplash and Interstellar to name but two, were more deserving. Best cinematography? It was stunning, full of intriguing artistic choices; but Nightcrawler sticks with me more, so no.

To summarise: 6/10. An interesting idea, technically well executed but let down by a weak narrative. For a truly great 'oner' try Russian Ark.

Think Pulp Fiction meets A Curious Incident of the Dog in the Night Time meets Anchorman. Firstly, cinematography beautifully captures the threatening feel of LA. Neon signs, red and blue police lights and harsh contrast between monitor, day and night beautifully match the troubled character and environment. I'd honestly suggest this film simply for the beauty of these shots. Hand-held footage pulls us into characters, slight shake simply building our adrenaline and leaving car crashes feeling even more real. Editing is slick during moments of action but also allows slow pace to mimic the start-stop nature of the job. But above all this film should be praised for Gyllenhaal. Channeling the autism- spectrum character of A Curious Incident, he is totally believable as the madly driven, manipulative videographer. My only concern lies with the ending - but perhaps this film really does break boundaries here. A film to remember - a future cult classic.