It was a bold move to build a cast primarily of stars who tend to be known for their work in comedy, or at least notably lighter fare; Jerry O'Connell, Justin Long, John Corbett, and Luis Guzmán are certainly not generally known for dramas or thrillers, and even with extra dour films like 'Blackbird' and 'Gardens of the night' to her name, Gillian Jacobs is obviously best known for comedies. Though there are notes of wry humor here, let there be no doubt that 'The lookalike' is no comedy - and in fact it's significantly darker than I ever would have guessed before I sat to watch. Violence, desperation, and gloom are the order of the day in a tale of drugs, manipulation, backstabbing, major debt, love, sex, plain old murder, and worse, and multiple characters' lives and story threads intersecting. It's hard to track all those threads at the outset, but they do meaningfully (and grimly) converge, and at that more than can be said for some other titles that have taken a similar storytelling approach. While not as wholly disturbing or depressing as some other flicks, this still isn't the easiest flick to watch at times - but for all of its 100 minutes, it's excellent all the way through.
Removed from the sort of material for which they're most recognized, everyone here gives fantastic performances of cold, hardened intensity, nevertheless vitalized with superb nuance. As if they haven't proven themselves elsewhere, and their versatility in a wide range of roles, I'm low-key stunned by just how terrific the actors are, all shining from one to the next. That goes for O'Connell, Long, and Jacobs most of all, not just for their prominence but for the disparity with their other works, but also those in supporting parts, like Scottie Thompson and Felisha Terrell. The ensemble is an important anchoring point for as harsh as the narrative becomes, but it's also a great credit to both screenwriter Michele Gray and director Richard Gray that between the two of them the feature remains light on its feet, never getting bogged down in the violence, the plot development, the strong emotions, or any other facet. The screenplay is totally solid, with a perfectly cohesive and compelling narrative, rich and flavorful scene writing, and characters that are written gratifyingly well. Richard ties all the many pieces together with the same deft hand that brings out the buzzing electricity of the proceedings, letting everything and everyone have their moment to shine without wholly stealing the spotlight. Really, 'The lookalike' is splendidly well balanced.
Even Alies Sluiter's score carries that same energy as Richard's direction. At any given time the themes stick to the background, merely lending to the mood, but ever does the music retain a lively sense of movement that bolsters the sprightly feel of the picture at large. And in all other regards this is as well made as one might hope of modern cinema, with every aspect having a turn to rise to the fore as the tale progresses. The costume design, hair, and makeup are lovely; stunts and effects are nice and sharp. Thomas Scott Stanton's cinematography is crisp and vivid, not to mention smart, and the sound design and editing are equally keen. Everything looks and sounds good here as far as I'm concerned - but it's definitely the story, the cast, and the direction that matter most, and on these bases the viewing experience is pretty fabulous. I wouldn't go so far as to say that this is a must-see, yet it's a movie that's crafted with tremendous skill, intelligence, and care, and the story keeps us firmly invested; that's more than enough to earn a hearty recommendation as far as I'm concerned. Suggested above all for those who are fans of the cast, 'The lookalike' is a crime thriller that's more than it seems from the outside, and if you have the chance to watch then it's well worth checking out.
