The reviews are uniformly positive, and the praise lands in the same two places. Nearly every critic singles out Ellis Howard’s lead performance as Byron, for carrying a teenager who is witty, reckless and still forming without softening any of it. The other constant is nerve: most critics describe the adaptation of Paris Lees’s memoir as fearless, unsentimental about sex work and drugs, and unwilling to treat a trans coming-of-age story as a catalogue of trauma. The recreation of Nottingham’s early-2000s club scene draws repeated approval.
The spread is narrow, from good to outstanding, with no mixed or negative notices. Where reservations surface they concern the ending, which The Guardian finds conventional and The Telegraph calls somewhat trite after all that raw energy. Several critics flag the explicit and disturbing material as a warning rather than a fault. The Times and The Telegraph are the coolest voices, and even they call it gripping.
