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Douglas Adams turned his sci-fi phenomenon, The Hitchhiker's Guide to the Galaxy into a hit radio and TV series, a five-part trilogy of novels and a BAFTA-winning computer game, but complained making it into a movie was like "trying to grill a steak by having a succession of people blow on it".

After a 20-year battle with Disney to get the film made - and a day after a planet was named after the story's protagonist Arthur Dent - Adams died of a heart attack. Fans rushed to their nearest webring to console each other when they discovered the bum-clenchingly great scripting responsibilities had been passed on to Karey Kirkpatrick, the brains behind fluffy kiddie flick, Chicken Run.

To make matters worse, Terry Gilliam and Jay Roach passed the honour of directing the film to Garth Jennings and Nick Goldsmith, two movie first-timers who made their livings as production duo Hammer & Tongs - the company behind music videos for REM, Supergrass and Pulp among others.

But Don't Panic! As Robbie Stamp, Adams' pal and the movie's executive producer, rightfully says, "The cast and crew rose to the challenge and created the perfect tribute to Douglas."

The film carefully brings the story into the noughties without incurring the wrath of Hitchhiker fans, and adds enough smug nods in their direction to keep them happy. They will relish whispering to their unimpressed cinema neighbour, "Look, Douglas Adams' face is in that shot" or "That's Marvin the Paranoid Android from the TV series." And for the uninitiated, there's an acid-trip of a movie featuring love, aliens and the answer to life, the universe and everything.

A galaxy of stars were enlisted to bring the mind-boggling story to the big screen, including Martin Freeman, who reprises his superb Everyman role from The Office to play Arthur Dent, a tea-loving Londoner who becomes the last man from Earth, following its destruction to make way for a hyperspace bypass.

Mos Def proves not all hip-hop stars are fist-gnawingly embarrassing as actors, in his part as Ford Prefect, a revoltingly cool alien who accompanies Dent on his hitchhiking adventure around the universe.

The unspeakably delicious Zooey Deschanel provides the love story that was sadly lacking in Adams' script drafts. She plays Trillian, the last surviving humanoid female, who finds herself caught in an unsavoury love triangle between Dent and Zaphod Beeblebrox, the President of the Imperial Galactic Government and owner of three arms, two heads and one planet-sized ego.

And if you've ever wondered what Freddie Mercury and George Bush's lovechild would be like (and frankly, who hasn't?) watch Sam Rockwell's extraordinary portrayal of Beeblebrox. As Rockwell testifies, "I studied footage of US presidents and rockers for this role until I tasted blood."

The essential Britishness of the film is provided by the delectable Stephen Fry and Bill Nighy, who are more English than chips, awkward dinner parties and halitosis.

Who better to voice The Guide, a book which contains all the knowledge in the universe, than bulging-brained Fry, who uses the perfect amount of middle-class haughtiness, irony and intelligence to narrate the delightfully complicated story.

And Nighy can't fail as planet builder Slartibartfast (who, as every nerd knows, won an award for creating the twiddly bits around Norwegian fjords) because he based the world-weary alien on the nation's best-loved character, Bill Nighy.

I almost missed out one character, insane religious leader Humma Kammula, a new character Adams wrote especially for John Malkovich. He is easily forgotten because despite his amusing dialogue, the special effects drown out his performance, preventing him from doing the honour justice.

But fans will forgive this small transgression, for the pleasure of seeing a beast of a movie which has defied the laws of the universe to make it onto the big screen.

Jennings and Goldsmith have proved that despite their movie virginity, the first time isn't always messy, awkward and disappointing, it can also be earth shattering, amusing and very, very satisfying.

It is wonderfully refreshing to see an intelligent adaptation of a well-loved book which manages to be innovative and highly entertaining. I saw the film last week, and after having seen the television adaptation as a child I did not have my fond memories shattered. The eccentricity of the story and characters have remained intact, and the Monty Pythonesque humour has been enhanced with even more surreal flights of fancy. Although funded by the US, this is a very British film and those who are fans of the new Dr Who, League of Gentleman and Little Britain are well catered for here. The film will not appeal to everyone, but those who love the book and intelligent, original comedy will have a fantastic time.

It's a known fact that the movie adaptation of Hitchhiker's has been up in the air for some years now. Passing from the hands of one director to the next (James Cameron, Spike Jonze and Jay Roach), it wasn't until the idea landed in front of Garth Jennings and Nick Goldsmith that things truly started to take shape.

Douglas Adams died from a heart attack in 2001, but after reading the books, watching the film and drawing a comparison, it's clear that Adams would've accepted this adaptation of the TV series of the computer game of the radio series wholeheartedly.

Martin Freeman is an inspired choice as the face of Arthur Dent. He's an everyman, his slightly vacant, permanently confused facial expression (which we've all come to recognise from his role in The Office), truly becoming from a man who's trying to make sense of what's Out There, which happens to be similar to, though on a slightly larger scale than what's Down Here. And stupider.

Admittedly, it would've been nice to see more English talent taking on the roles from Adams' well loved creation. Steven Fry is THE Guide, the quintessential voice of logic and good-humoured reasoning in the Universe. Bill Nighy makes a great Slartibartfast, coming across as the kindly, if a little absent minded, genius that I've always imagined. And Alan Rickman providing his nasal drones to Marvin the Paranoid Android worked to near perfection.

That's not to say that the American cast isn't great. Mos Def and Zooey Deschanel are excellent as Ford Prefect and Trillian, but it's obvious that it's Sam Rockwell who's having all the fun, relishing his role as the over-excitable, reminiscently hippie-rockstar Ex-President of the Galaxy, Zaphod Beeblebrox.

So all in all, The Hitchhiker's Guide to the Galaxy is a great experience. Non-Adamites will love it, as will the die hard fans. It's such a shame that its creator had to bow out before his beloved creation came to life, but due to his input into the movie script (the character Humma Kavula, played by John Malkovich, was written by him especially for the movie), his enthusiasm still lives on.

Want to go to the Restaurant at the End of the Universe now, please.

So, is the Hitchhikers' movie any good?

Yes and no.

It is great to finally see one of my favourite stories finally get the big screen treatment. There are moments where the budget has clearly benefited the overall experience, with some breath-taking CGI sequences. Two particularly spring to mind: An impressive backwards zoom out from earth's surface, past the Vogon demolition charges before the planet is so hastily disposed of, and Arthur's journey onto Magrathea's staggeringly colossal factory floor, which is simply overwhelming. Both illustrate, to great satisfaction, the dramatic readjustment of scale Arthur Dent has to undergo in such a short space of time in a stark manner that is just not possible in any medium other than cinema. The on-screen format of the guide itself is an appropriate update of the format developed for the television series, and it's highly enjoyable to see such delightfully silly animations grace a giant cinema screen.

Cinema is a different experience, and that is the nub of the matter. We are dealing with a radically different medium from any of the other that Hitchhiker's has materialised in, and not only does that offer new opportunities to explore Douglas Adams' marvellous universe, it also necessitates dramatic changes. Most noticeably, and perhaps most important for a two-hour motion picture, there is more effort to form a conventional plot than is present in the original incarnations and this change is accompanied by major changes in character motivation. This is interesting, because (here analysis becomes problematic since it is impossible to know which changes were instigated by Adams and which were down to Karey Kirkpatrick), none of the characters in Adams' earlier material really had any significant motivations that would lend them to becoming interesting protagonists in a more conventional setting.

Previously, Narcissist Zaphod wanted his ego stroked by fame and fortune, Ford was content with the prospect of a decent party to go to and Arthur's only desire was a palatable cup of tea. Trillian didn't really do anything. Although they are far from unrecognisable, the introduction of tangible drives into most of the characters alters the pattern of events in the story to accommodate what begins to resemble a more conventional story structure. One of the first casualties of this is that the principle players overshadow others, who are introduced, half-heartedly expanded upon, and then almost entirely dropped in deference to the favoured few. It never goes the whole way towards a standard structure though, as half of the principle story is seemingly abandoned in favour of a concentration on the romantic subplot and an overall resolution that is at least reverent to the previous formats. The result is a mixed bag. I found Arthur much more likable and Zaphod funnier than I ever have done, but it never actually occurred to me until the film that Arthur was a bit of a whinger and Zaphod quite boring, because I was too busy paying attention to what happened to them, rather than what they happened to do.

The other major objection, which may or may not have been inevitable, given the time that must be given over to visuals in cinema, is that the filmmakers appear to try and get too much into a two-hour film. As a result, some brilliantly funny lines are missed and key explanations fudged and both are replaced by a general silliness, which appears to be a compromise between the demands of hardcore Hitchhiker's fans and those of the cinema-going public. A lot of the new material is funny, but some of it doesn't really fit with Adams' universe and sticks out like a sore thumb. Whether this is the consequence of those responsible being caught between the rock of Adam's inventiveness and the hard place of the medium they were working in is hard to say. Perhaps someone braver could have produced something more appropriate, or perhaps this is the best that there could ever be. I suppose we'll never know.

To summarise: It's very different.

This is a good and faithful recreation of Adams' brilliantly sketchy radio series. Not surprising as Adams wrote the screenplay and was on the verge of having his dream realised when he suffered a fatal heart attack. A fitting credit at the end of the film "For Douglas" serves as a gentle reminder of the genius we have all lost. As for the film, many of the original and wonderful lines thankfully remain and the plot is largely unchanged. There's a new character or two written in for the film by Adams himself and they add to the overall story. John Malkovich is great albeit very briefly as religious leader Humma Kavula. Sam Rockwell, Mos Def and Martin Freeman all carry off their characters with wit and style whilst I felt Zooey Deschanel looked a little out of her depth. At times her dialogue seemed to get lost and her character seemed weaker than Sandra Dickinson's interpretation in the radio and TV series. Bill Nighy marries his own idiosyncrasies into the character of Slartibartfast seamlessly. Simon Jones makes a welcome cameo appearance as a holographic warning system. Stephen Fry steps well into the shoes vacated by Peter Jones as the "Guides" voice and you feel as if you are in safe hands. The "Guides" animated sequences are wonderfully reminiscent of Saul Bellow and though simple they are hilarious. For a feature directorial debut Garth Jennings does a grand job. I was half expecting the pop video influence to be apparent, but thankfully it wasn't. Lastly but not leastly a special mention has to go out to Jim Henson's creature workshop, this is probably the best work they have ever done in a feature, and that's saying a lot, given their success.