This is not to say that the Charlie’s Angels reboot is fantastic, because it has a few issues. But compelling, enjoyable filmmaking? Yes, at times. What Banks’ film does best, though, is lean so far into the inherent campness of the franchise that the movie is essentially horizontal. There’s a wink and a knowing grin and a nudge-nudge to the whole enterprise that is so thrilling to watch. And that’s all thanks to Stewart.

The Twilight star plays Sabina, the shambolic angel who is always either eating something (“Do you want a sandwich?” she asks her no-nonsense partner-in-crime-stopping Jane (Balinska), in a pivotal moment of action, “it’s tuna. Unless it’s cheese, and it’s just really bad,”) or stealing something from someone.

She’s a gorgeous, wise-cracking, unapologetically queer secret agent with some chaotic Brad Pitt in Ocean’s Eleven energy. Does Stewart have ambitions to become an action star, à la Charlize Theron or Gal Gadot? She should. Charlie’s Angels serves as one long, two-hour audition tape for Stewart to get a standalone Poison Ivy origins film in the manner of Joaquin Phoenix’s Joker. I would – and I cannot stress this enough – die for her.

Smartly, Banks knows what side her bread is buttered on, and she has built the movie around Stewart’s Sabina. It is she who opens the film, staring directly down the camera as she says “I think women can do anything”, a quasi thesis for the movie. (What follows is a montage of stock footage of girls doing stuff, which feels both shoe-horned in and aggressively focus-grouped at the same time.)

Charlie’s Angels review: does Kristen Stewart’s girl power film sink or soar?