E verybody loves George Clooney , and rightly so. His performances in films such as Michael Clayton, Out of Sight and Ocean’s Eleven have been a joy, and as an elegant public figure he has more or less single-handedly underwritten the continuing currency of Hollywood classiness. But in this dire, sentimental and self-indulgent film, he has the look of a man who has found strychnine in his Nespresso pod and can’t remember which of the cupboards in his luxury hotel suite contains the antidote.

It is directed by Noah Baumbach, whose 2022 film White Noise, based on the Don DeLillo novel, was a superb competition entry at Venice. (Baumbach was reportedly disconcerted by a tepid response; I thought it was brilliant .) But this one is a grisly, sucrose, sub-Fellini swoon on the subject of a

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