What aims to be an Amy-style documentary portrait of a troubled genius ends up as a rehash of every prurient tabloid story that crowed over George Best’s self-destructive behaviour without trying to understand the root of it.

Best is most satisfying when it explores the early years of a footballer so skilled that even someone completely uninterested in the game could recognise his talent. But most of the talking-head interviews here are second tier and their insights little more than pub anecdotes.