It takes brass cojones to end a film the way Paul McGuigan does ‘Push’: making a sequel of a successful film is one thing, closing on a cliffhanger and assuming sequels will follow is quite another. But little about ‘Push’ makes sense. It builds a mythology involving psychics, telekinetics and seers – retitled Pushers, Movers and Watchers for the dumb among us. Chris Evans is Nick, a Mover fleeing the sinister Division who becomes entangled with Dakota Fanning’s brassy Watcher. There’s a fair amount to enjoy, notably Fanning’s performance and a manic sense of unpredictability. But silliness rules the day: plot holes abound and are plugged with techno-pounding action sequences and more nonsensical guff. As a TV pilot, this might have worked; as a film, it’s loud, confusing and inane.