This lack of belief in in her protagonist is what ultimately dooms “Born to Die.” Lana Del Rey isn’t nearly as convincing a fiction as David Bowie’s Ziggy Stardust, Madonna Ciccone’s name-shortened boy-toy persona or even Taylor Swift’s character, “Taylor Swift.” And by the end of “Born to Die,” the experience has become tiring and woozy, like if you’d taken a half-dozen Ambiens when you’d put the record on — and now you’re getting very, very sleepy.