As they struggle to piece together their pasts and identities, they discover that they are a group of dangerous criminals and fugitives. Despite this revelation, they must work together to survive in a hostile universe filled with corporate rivalries, political intrigue, and powerful enemies. The series delves into themes of identity, redemption, and the nature of free will, as the crew members confront their past actions and attempt to change their destinies.

“Dark Matter” is known for its engaging plot twists, complex characters, and a blend of action, drama, and suspense, making it a captivating watch for fans of space operas and science fiction.

Cobb is offered a chance to achieve his goal if he can successfully plant an idea into someone’s mind—a process known as inception. This task leads him and his team on a complex journey through various dream levels, each with its own set of challenges and time dilation. The team includes specialists like Arthur (Joseph Gordon-Levitt), who manages the logistics; Ariadne (Ellen Page), a young architect who designs the dreamscapes; and Eames (Tom Hardy), who can impersonate others within the dream.

The film is celebrated for its originality, deep philosophical questions about reality and illusion, and stunning visual effects. It also features a dramatic score by Hans Zimmer, which complements its intricate plot and high-stakes emotional drama.

Many, it is likely, will find the film entirely passable. Courtesy of Winehouse herself, it boasts a terrific soundtrack, allowing Sam Taylor-Johnson ample opportunity for montage. It’s an easy win for the Fifty Shades of Grey director, who shoots with eloquence and style. As for the lead, Marisa Abela certainly looks the part. She makes an impressive stab too at vocal impersonation, going hell for leather with song and script alike. Rote, simplistic writing – from Film Stars Don’t Die in Liverpool’s Matt Greenhalgh – does Abela no favours but her effort and respect for Winehouse are palpable. There’s more to capturing Amy than the donning of a beehive and faux ‘Daddy’s Girl’ tattoo.

Amy has neither as the film opens. Back to Black joins her story just prior to the completion of Frank, her debut album, in 2003. It was an album born of anachronism, jazz in the age of manufactured pop. Amy is no f*****g Spice Girl and won’t be manufactured for anyone. She’s a family girl through and through, devoutly close to her nan, Lesley Manville’s Cynthia, and the apple of her parents’ respective eyes. Mum, Janis (Juliet Cowan), is unwell, we’re told, but the film has no further insight there.

More focal is Mitch Winehouse, who is played by a sympathetic Eddie Marsan. The real Mitch hated Kapadia’s documentary – which dared to critique his culpability in Amy’s downfall – but should find Back to Black more palatable. Here, he is a doting, kindly figure. Totally exonerated. True, he’s the man who said no, no, no to rehab but he’s the father that drove her there when she truly needed it. No mention is made of the exploitative documentary he made for Channel 4 just two years before her death.