If, like Todd Miro, you have an aversion to the turquoising of Hollywood blockbusters, this film will make you nothing but irate. It’s a deliberate, artistic choice here, which to its detriment makes it difficult to focus on anything else (“That boy’s eyes and face do not match, send help!”).

It’s all a bit slow and illogical, with the odd slapstick interjection, and its manufactured whimsy is far less endearing than, for example, the manufactured whimsy of Jeunet’s Amelie. Along the way lie clever references to Hollywood’s past, a doleful steampunk automaton and some bravura tracking shots through the Parisian underground that must have clouded the Academy’s collective mind.

Scorsese deserves armfuls of plaudits, but not for this.