In Netflix film Turning Point: Generation 9/11, the lives of people forever impacted by the terrorist attack on 2002 are explored

Twenty-five years on, memory is giving way to history. Soon the US will cross the point where half its population were born after 11 September 2001 or were too young to remember the day that terrorists crashed planes into the World Trade Center in New York, the Pentagon in northern Virginia and a field in Shanksville, Pennsylvania.

“When I do that math, I get to the bomb at Hiroshima – that’s how distant it is,” says Brian Knappenberger, 56, director of a new Netflix documentary, Turning Point: Generation 9/11. “When we talk about the second world war, for our generation it seemed like a long time ago but, for the current generation of 20-year-olds, that’s how long ago it was.”

A father and son must team up to find a serial killer in a cheaply made and increasingly uninteresting thriller

It’s not as if Robert De Niro’s choices have improved all that much since the nadir of the mid-2000s (last year did see him crop up in a Scott Eastwood-led actioner and The Alto Knights) but there’s something specifically rubbishy about his latest that transports us back to that particularly cursed time. The Whisper Man, a film as openly stupid as its title would suggest, could have been released in between the evil clone horror Godsend and imaginary friend thriller Hide and Seek, the kind of bottom-tier project that offers the actor a nice big cheque and the audience a nice little nap.

It’s a familiar pile of B-movie schlock – serial killers, missing children, bumps in the night, more imaginary friends – and there is some initial junky fun to be had as we wonder just where it all might be headed. I was hoping for a destination a little more deranged or vaguely surprising, the film making a silent promise that we’re hurtling toward somewhere wildly unexpected before dumping us in a ditch instead.

In spite of capable performances and deployment of hygge, gothic and Nordic noir elements, you’ll search for a feasible plot or a character insight in vain

Adapted from the 2017 novel by Anna Ekberg (actually a male writing duo), this thriller from Denmark chucks in a bit of everything into the mix: hygge lakeside melodrama, manor-house gothic, and Nordic-noir corruption. But this franticness can’t disguise that it’s a dopey and facile thriller that, despite capable performances, plumbs neither its characters’ depths nor hits thematic pay dirt. It also merits a stiff investigation from the plotting police.

Despite amnesia that leaves her unable to remember her life prior to running an idyllic Norwegian rural cafe, Louise (Natalie Wolfsberg Madueño) is gearing up to get hitched to crime writer Joachim (Pål Sverre Hagen). When a tourist approaches and calls her by another name, she is sufficiently shaken to take a DNA test; it confirms she is actually Helene Söderberg, a Danish shipping heiress presumed dead, with a husband and son back home. Originally found stowed away on a cargo ship, she handed over an ID card – for Louise Anderson – which the authorities accepted. Now wanting to reclaim her identity, she pitches up on the capacious doorstep of company executive Edmund (Claes Bang), her former partner.