Duplicity - Gemeinsame Geheimsache

"Duplicity" is a movie that thinks it's too clever for its own good, resulting in a convoluted tangle of corporate espionage and deceit that simply fails to capture the audience's interest. From the outset, the film promises an ingenious plot, but what it delivers is a boring and confusing experience that loses its viewers at every turn.

The narrative of "Duplicity" takes its protagonists from Dubai to Italy, from London to Miami, from Cleveland to Zurich, in a marathon of travel that is not just geographical but also temporal. The movie is riddled with constant flashbacks that count back in ever-smaller time segments, supposedly to build tension akin to a bomb about to explode. However, this bomb never goes off with the expected intensity. With each previous encounter revealed, we're supposed to be closer to understanding the master plan, but instead of clarifying, each plot twist only adds more confusion.

Even when you think you've finally deciphered what's going on, "Duplicity" hits you with yet another twist that changes your perception of everything you've just seen, not in an exciting way, but in a manner that feels forced and, frankly, exhausting. The film tries too hard to be smart, but the result is far less refreshing and original than it should have been; instead, it feels like an idea we've seen before, only executed in a way that's so complex it becomes tedious.

Having just finished the enormously disappointing 'The International,' a 2009 espionage thriller starring Clive Owen, I can't believe I saw 'Duplicity'…another 2009 espionage thriller starring Clive Owen. Sue me, I'm a Julia Roberts fan, I actually like Owen – we all make mistakes so no judgments on some projects, and I love a good 'Ocean's Eleven'-type spy/dark comedy. Fortunately, after having to take several breaks in 'Duplicity' and wanting to turn this off for good, I stuck through to the end. I'm glad I did. Few horrible movies, as I thought this was slowly becoming, reach out and grab me in the closing. Perfect movie? By no means; it's barely average, but if you allow yourself, like I did, to reach the climax, you'll probably be equally surprised. After roughly three-dozen "two weeks ago," "ten years ago," etc, flashbacks, you'll learn Roberts and Owen are capers in love attempting to make a heist (and life) together using their trained skills. After awhile, they settle down between two rivaling companies bent on cosmetology, products, etc. You, the viewer, pick up clues along the way on whose side who's on and who you can trust. Big problems with the film started with an maddening slow-mo Wilkinson/Giamatti intro, then the endless boxed in scenes (dang, I know style, but this was as ridiculous and annoying as Lee's 'Hulk' comic book, uh, approach to minimizing the screen) and with the extreme lack of chemistry between the two leads. Sure, Owens is swift and good, but Roberts looks fresh off the 'Ocean's' set, with almost zero charisma she was built on in the early 90s. In fact, she just looks tired. Motherhood might do that. Nevertheless, it had its moments, and the end ties all the confusion you'll have. I certainly did until the last act.

I'm not quite sure why this film got so-so reviews in the UK but it wasn't offering me a great deal to check it out and it was only the lack of alternatives that saw us going to see it. Perhaps it was my low expectations but what I found was a perfectly fine slick little caper film that, while not perfect, had enough slickness and pace to make for an entertaining couple of hours. Essentially we have seen it before, the smooth music, the cool cinematography, the stars in lead roles, the many twists and turns on the way to a reveal that makes for the conclusion of the film. It is nothing new and, in light of the Oceans films doing the same thing, it could almost be called a bit tired.

It does work though and writer/director Gilroy keeps it moving along well even if he is too close to his own material to be able to identify the problems within it. The basic plot is all well and good but the structure weakens it a bit. The multiple jumps back in time are supposed to inform us and/or add to the mystery but unfortunately they actually mostly serve to break-up the flow. It is not complex but the time shifting makes it feel more complicated than it actually is and makes it harder to follow because it breaks up the slick flow that the majority of it has. This is a shame because otherwise the film works well and it is only really the failure to pull off the structure that takes the shine off it.

And it is a "shine" because this is a film that has been polished in most regards. In itself it is what it appears to be – a glossy thriller with many little twists attempting to keep you from guessing the final reveal. It doesn't quite manage this as the ending is perhaps a little foreseeable after a certain point but mostly the sheen on it makes it flow. The direction is mostly very good with clever shots and fine delivery and editing to pull it together – in this type of thing that is much more than half the battle because sometimes that can be enough to fool viewers into buying the style when the substance stinks. That is not the case here as the substance is pretty good and the cast add the journey. Roberts didn't really convince me as she hasn't for a while (maybe she never did) but she is a Hollywood star through and through and she brings class to the film. Owen brings the rising star but, more importantly, the rugged charm that he does so effortlessly. Having Wilkinson and Giamatti only adds to the feeling of a quality product along with several good turns in smaller roles.

Duplicity is not a brilliant film but it is a good one within the context of the genre. The structure limits the slick appeal that it could have had and makes it a little less fun that it could have been but mostly all the packaging is in place and it does what you expect it to do as a genre film. Nothing to shout about from the rooftop by any means but for a Friday or Saturday night it delivers the sort of gloss that one goes to see these movies for and you gotta give it some credit for that in a period where so many star-led blockbusters fail to even do that.

Greetings again from the darkness. The very imaginative and quite funny opening credit sequence sets the stage for a fun frolic through the world of corporate espionage. The only two problems ... it's not that much fun and there is very little frolicking.

Writer/Director Tony Gilroy (Michael Clayton) just tries to be too clever and cute for his own good. After landing two perfect leads and two of the best character actors of this generation, Gilroy offers up a tedious, bungled mess that is really never that clever and certainly gives the feeling of holding back these four fine actors.

The multi-frame look, non-linear time line, repeated dialogue and smirky exchanges between Clive and Julia are just some of the clichéd tricks used to make this seem more interesting and complicated than it really is.

Clive Owen shows again that he would have made a sterling James Bond (nothing against Daniel Craig, who is excellent). Instead of his usual dark, brooding roles, he seems to thrive when he can show a bit of emotion. Luckily for the audience, we are only subjected to one of Julia Roberts' patented cackles that causes every man to cringe. For her, she is quite reserved, but just can't pull off the smartest person in the room role. Sadly, the great Tom Wilkinson is pretty much wasted in his role as one of the dueling corporate giants. Paul Giamatti, on the other hand, has the best scene in the film as he delivers over-the-top arrogance in his stockholders speech.

Must also mention Tom McCarthy, not so much for his role (he is the guy handcuffed in the meeting room), but just because I have become such a fan of his directorial skills ... The Station Agent and The Visitor.

If you are after a dime store version of Michael Clayton or a mostly non-funny Cary Grant type film, then this is the film for you. To me, it just doesn't deliver the quips, twist or turns that it pretends to.

Where is the dupe in duplicity?

Ex-intelligence operatives Julia Roberts and Clive Owen decide to go into business for themselves. Moreover, they would not mind being romantically evolved. The only problem is can they trust each other. They take an economic opportunity by infiltrating two rival pharmaceutical companies. Each company uses all sorts of tactics to get one upon each other. Will the ex-agents succeed with any of their goals?

The film relies excessively much on flashbacks within flashbacks to the point that the whole film is just one big flashback. It is very annoying. It goes out of the way to mask needed information from us instill it is over-explained in the flashback.

I found the movie fun to watch. I was occasionally misled. Now if they could have just gotten rid of all the flashbacks.