A technologically feasible portrait of conductor-free commuter trains and driverless cars warms us to a metaphysical conundrum: you're dying and wealthy enough to afford a clone to continue in your absence that’s so convincing, even your spouse won’t notice the difference. Would you do it? Set ‘neath overcast skies, the questions raised in the futuristic frostiness that follows aren’t half as confounding as the logic that drives them. Why would anyone living on borrowed time choose to spend their dying days in a secluded glade surrounded by strangers rather than surrounded by the ones they love? Second, what kind of narcissist would rather see his spouse in the arms of a clone simply so that his legacy may live on? Cameron (​​Mahershala Ali, twice as compelling) is the third duplicate to be minted by Dr. Jo Scott (Glenn Close, her permafrost unthawing), who foresees a process that in a few years will be as common as a heart transplant. How can that be when so much of the operation hinges on patient secrecy? Entry-level auteur Benjamin Cleary establishes an atmosphere of sterile orderliness — every chair is evenly set apart — and the only laugh comes from a dog’s double-take. (2021) — Scott Marks