A fitting punishment for anyone who felt that “Once Upon a Time in Hollywood” didn’t lavish enough love upon the late Sharon Tate, Benedict Andrews’ “Seberg” is proof enough that extra screen time isn’t the secret to a more satisfying cinematic séance.Which isn’t to say that this scattered look at the last years of Jean Seberg’s life gives the actress its undivided attention.
Less a biopic about the “Breathless” star than a paranoid thriller that revolves around her fateful role in the FBI’s Cointelpro surveillance program, Andrews’ film might position Seberg as its subject, but it ultimately just uses her as a screen on which to project a story about someone else.
Whereas Quentin Tarantino suffused Tate’s memory into the very soul of his revisionist elegy, liberating the murdered starlet from her own iconography, Andrews — whose film also takes place in the late
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