Lost. That’s the state than many of this generation – and others – would find themselves without their phones and its GPS. They would probably get lost moving from room to the next without it, which is probably why they can’t take their eyes off the screen.

And it’s this technology that is at the very heart of this curious romantic fantasy starring Margot Robbie and Colin Farrell.

Attempting to attend a friend’s wedding is David (Farrell). It’s made difficult by the fact that his car gets clamped, and he has to come up with another way of getting there.

A flyer on the wall directs him to the catchily titled The Car Rental Company, where they only rent one make of car – a 1994 Saturn SL, of which they only have two available. David accepts it, as well as having a GPS which is strongly recommended to him.

When he gets to the wedding, he’s introduced to Sarah (Robbie); there’s a frisson of connection between them, but they choose not to go with it.

But when David leaves, stopping at a Burger King by his GPS’ suggestion, he bumps into Sarah again, who appears to have the other Saturn car. Unfortunately for her, it doesn’t start when they’re about to leave, and David offers her a ride.

They leave their destiny to the GPS, who has a number of curious stops for them, on their unique journey of discovery together.

If you’re going to have a career under a pseudonym, you would hope that you would have the creative kahunas to back it up. Sadly that’s not the case for Kogonada, AKA Park Joong Eun; although maybe the South Korean director uses it so no one associates him with such a lame effort as this.

It’s a journey by two characters, who have the opportunity to couple up on their metaphysical journey, that sees them going through random doors, as presented by the GPS, into parts of their pasts.

The fact that is very much a film about journeys only makes it ironic, by the fact that it’s directionless in every sense of the word.

It desperately wants to be magical, but sadly it’s a dull and dreary affair, which may well have you asking “are we nearly at the end yet?” throughout. It plods, with vacant dialogue, as the talents of Farrell and Robbie desperately try to discover a connection between their two characters.

The stops that lead them to the ‘magical’ doors should prove to be emotionally weighty, but through Koganda’s eyes, they’re thoroughly vapid episodes, offering no momentum towards each other for David and Sarah.

You can see it being appealing to both Farrell and Robbie – on paper at least – but Koganda’s ‘vision’ doesn’t translate at all well to the big screen, resulting in one of the most underwhelming relationships on screen displaying zero chemistry.

A Bad Baffling Banal Trip would have been a more accurate title, with all its many roads leading to absolutely nowhere. Sure, the GPS could have been blamed, but with Koganada firmly behind the wheel – or his pseudonym at least - he’s the only one who can be blamed for this cinematic car crash.

Like any dead end, best avoid.