Maps To The Stars (18)***

The car was burned from the front through the interior. Picture: David George

Vehicle is burned out in Portsmouth car park blaze

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At the end of the 1990 comedy Pretty Woman, as Julia Roberts and Richard Gere savour their fairy-tale romance, a nameless man strolls across a sidewalk and hollers to the hills.

‘Welcome to Hollywood!’ he bellows, ‘What’s your dream? Some dreams come true, some don’t, but keep on dreamin’ - this is Hollywood.’

More than two decades later, that rose-tinted dream turns sour in David Cronenberg’s relentlessly grim satire of ambition, greed and dark familial secrets.

Scriptwriter Bruce Wagner, who crafted this lacerating portrait while he was working as a limousine driver in Tinseltown, is unflinching in his depiction of how far some starlets will go to extend their 15 minutes of fame.

Precocious child stars bound for rehab and New Age healers are in Wagner’s sights as he laments the death of raw talent and berates the rise of the perfectly packaged commodity.

And they don’t come more lucrative than 13-year-old Benjie Weiss (Evan Bird), the pre-pubescent prince of the box office whose upwards trajectory is carefully managed by his mother Christina (Olivia Williams).

Back at home, Benjie’s father, self-help guru Dr Stafford Weiss (John Cusack), realigns the chakras of wealthy clientele including fame-hungry actress Havana Segrand (Julianne Moore), who is pinning her resurgence on a remake of the film that made her mother, Clarice Taggart (Sarah Gadon), a star.

While Havana awaits news on a new acting role, she employs a new personal assistant, called Agatha (Mia Wasikowska), whose sardonic take on Hollywood attracts handsome limo driver Jerome Fontana (Robert Pattinson).

Maps To The Stars is anchored by Moore’s fearless and emotionally raw performance as a screen siren.

Wasikowska is similarly impressive as a daughter undone by the sins of her father and Pattinson continues to shove a stake through the heart of his image as a swooning teen dreamboat in the Twilight saga.

Screenwriter Wagner doesn’t always achieve smooth transitions between black comedy, drama and tragedy, and he tips the wink too early to the skeletons rattling in the Weiss family closet.