Time’s been unkind to Paul Schrader’s 1988 anomaly, Patty Hearst. The film – part kidnap thriller, part biopic – is essentially a feature-length depiction of Stockholm Syndrome. Yet, its moral indignation suffers compared to recent doc, Guerrilla: The Taking Of Patty Hearst. While the latter has the kidnappers as jittery, deluded idealists, Schrader opts for heavily armed brutalising thugs. Hearst herself, as usual, remains an enigma.