A clerk in a government agency finds his unenviable life takes a turn for the horrific with the arrival of a new co-worker who is both his exact physical double and his opposite - confident, charismatic and seductive with women.
Simon is a timid man, scratching out an isolated existence in an indifferent world. He is overlooked at work, scorned by his mother, and ignored by the woman of his dreams. He feels powerless to change any of these things. The arrival of a new co-worker, James, serves to upset the balance. James is both Simons exact physical double and his opposite - confident, charismatic and good with women. To Simons horror, James slowly starts taking over his life.Written by
In the "Replicator court-martial" extended scene, the central member of the court-martial board is played by Laurence Fox, the brother-in-law of the director Richard Ayoade. See more »
You can't be doing anything gay. No ice-cream cones.
I like ice cream.
Of course. It's delicious. Ice cream is fine in a cup, but in a cone is gay unless you're with a woman at the time.
No riding on a motorcycle with another man. Exceptions are drive-by shootings, bomb throwings and purse snatchings. Anything else is gay.
You seem to know a lot about this.
Defense wins championships.
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Written by Jun Hashimoto, Tadao Inoue
Published by Watanabe Music Publishing Co. Ltd (c) 1967
Administered by Fairwood Music (UK) Ltd for the UK & Eire
Performed by The Blue Comets
Licensed by Nippon Columbia Co. Ltd See more »
This obnoxiously over directed Dostoevsky adaptation is an empty shell of a film with a vicious sound mix and over stylized art direction. A boring worker drone has a double who up ends his life and sends this pretentious bore into a tail spin of quirky zero dimensional characters and a repetitive joke that our main character is invisible that wouldn't sustain more than a 20 minute short film. Eisenberg does decent work playing the polar opposite dual roles, but he's left running around in a shapeless film that doesn't engage and uses quirk as a crutch instead of having any substance - it's just dead up there on the screen, pleased with itself at how clever its trying to be. The cinematography is quite nice, but that is hardly a compliment, as this film is the very definition of style over substance. It's like the worker drone sequences in Brazil stretched out to feature length, mixed with some elements from Delicatessen, especially the psychotic sound design.
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