A woman moves from NYC to LA after a murder, in which she is implicated. She is followed by what is apparently her evil alter- ego. She moves into a room for rent by a writer, and he begins... See full summary »
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Jordan Christopher Michael,
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A woman moves from NYC to LA after a murder, in which she is implicated. She is followed by what is apparently her evil alter- ego. She moves into a room for rent by a writer, and he begins having an affair with her, but after some strange things happen, he's not so sure if the affair is with her or her doppelganger. Written by
Ed Sutton <firstname.lastname@example.org>
Holly is wearing a white dress when her transformation begins. She splits into two naked creatures. After the creatures "reassemble," the reconstituted Holly is magically wearing her white dress again. See more »
[Elisabeth comments on how fast Patrick had begun sleeping with Holly when a guy comes out of her bedroom]
What was that you were saying about 6 months of suffering?
OK, so I'm a slut, you're a slut, who wants coffee?
See more »
Karen Leigh Hopkins and Sara Hickman are listed in the end credits as "Psycho-slut #1" and "Psycho-slut #2," respectively. See more »
Doppelganger has its moments, but they are few and far between.
Essentially, this is a grade B blend of pop-psych thriller, ghost story and horror. Drew Barrymore plays a young woman who is haunted by the demons of her past (most of her family has been murdered and she was, in at least one case, the prime suspect), or does she just have a really bad case of multiple personality disorder? George Newbern is her new room mate, and most of the action centers on him.
Newbern's character is pretty sympathetic, and both he and Barrymore do decent work (though not exactly good). The mediocre to (at times) totally horrendous script and the unimpressive directing seem to have combined to sink the rest of the performances into oblivion. Leslie Hope's character is memorable, but so irritating that you will want to forget her.
The plot eventually disintegrates into a bifurcated (one story arc is psychological realism, the other is supernatural horror) outlandish climax which is so badly conceived, acted and photographed that it effectively counteracts most of what value the film had achieved previously.
Overall, the film has the feel of what might expect to be the result of M. Knight Shamalyan's first undergraduate film class. The acting and script for the two leads are just good enough to make you care a little about them - at least until the film derails utterly and completely.
My recommendation - send your doppelganger, but avoid a first-person encounter.
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