Christian Gallichio

While riffing off almost every film about androids that came before it — “A.I.,” “Ex Machina,” etc. — Baird’s film fails to add anything new to the sub-genre, creating a derivative pastiche of better works that often looks visually compelling but collapses under an underwritten script.

Flight Risk is never as campy as it should be.

Marlowe isn’t the catastrophe that others may make it out to be, but it’s instead just inert, forgettable immediately after the credits roll. Jordan feels like he’s going through the motions, uninterested in bringing any personality to the genre.

While the first hour or so is compelling, the problem with The Policeman’s Lineage isn’t so much the fact that it’s an amalgamation of various genres and tropes, but more that there is little coherency when the film transitions between them, creating a feeling of whiplash.

In the end, Hillbilly Elegy is shameless Oscar bait only redeemed by Close and Bennett’s restrained work.

She is Love feels incomplete; it’s a series of scenes searching for a narrative and a trio of talented actors searching for believable characters.

Despite featuring an intriguing set-up and good cast, The Night Clerk offers nothing new to the genre, predictably hitting the same beats, without variation.

The biographical and fictional afterlives of Monroe are particularly interesting, and probably tell us more about the authors who choose to dedicate their lives to researching her than anything new about Monroe, herself. One wishes that Cooper, and Summers, would’ve realized this.

We never get a full sense of what these people went through after finding out that Cline was their biological father, mainly because Jourdan doesn’t seem particularly interested in unpacking these issues, or giving enough narrative space to explore the psychological toll.