In general, the plot of the picture could be quite suitable for one of the episodes ' Black Mirror': we have a certain near future here, in which after death a person can leave behind an identical clone, who must first be taught all his knowledge and habits. The main character of Sarah performed by Karen Gillan situation is not fun at all - absolutely in the Kafkaesque spirit one day she receives the news that she is ill with an unknown (!!) incurable (!!!) transient (!!!) disease. And the poor fellow, accordingly, has no choice but to turn to a company for the production of twins to prepare his clone for life with his mother and not very caring guy. Already this concept of the interaction of two identical persons could be an interesting basis for the film, but indie director Riley Stearns all this turns out not to be interesting at all and the film suddenly makes a leap almost a year in advance to make the film more interesting. Well, in general, then begins such a non-stop absurdity, which could be called ridiculous if it were not so creepy. Therefore, it is better not to disclose the details to anyone who may want to appreciate this movie. It should be noted that in the film very competently build the rules of the local future, almost indistinguishable from our realities. All the necessary shocking details are revealed at exactly the right moment, so when the action suddenly gets on the tracks 'Running Man' or even 'The Hunger Games' don't complain that I didn't warn you.
But if you're looking at the posters and my description and you think you're going to have Ci-Fi, hold my metaphorical beer. Rather, ' Dual' can be called a postironic remake ' Adventures Electronic' - these films have a terrible lot in common. A terrific job has been done by a bifurcated Karen Gillan - in the interaction between her heroine and, um, her heroine, lies much of the absurdity of this inadequate story. And then there is Aaron Paul in the role of hypertrophied cool Woody Harrelson from the same ' Hunger Games' but he keeps in the frame so pathetic and serious that it is difficult to contain laughter. When in an absolutely serious context, Aaron Paul began to dance to the legendary song 'ERONDON' there is nothing left but respectfully metaphysically shake hands with the director (the fact that Paul played a major role in the film adaptation 'Need for Speed' brings what is happening to some meta level). Thank you, Mr. Stearns, for having so much fun making this film, and for sharing this fun with us.
There may be really not stuffy personalities (already found) who will begin to ask questions about the logic of the universe of this film. How legal from a humanistic point of view is the practice of creating clones, how to legally formalize the existence of both a person and his copy, and so on. But with these questions, please, to David Cage with his 'Detroit' because there is nothing but plot holes and pathetic faces and there is nothing to find. And what can be the claims to the film in which Karen Gillan chases herself to shoot, if the last time the same thing happened in the film ' Avengers: Endgame' and that picture became the highest grossing picture in history?
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