Duplicity

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Duplicity is a fast-paced, sleek-lined star vehicle. Like a Porsche, or seeing as we're in Hollywood, perhaps a Prius. After getting Closer back in 2004, Clive Owen and Julia Roberts reteam for writer/director Tony Gilroy spy - I was going to say thriller, but caper seems more appropriate. Any film that has a credit sequence featuring a slo-mo, shin-kicking brawl between Paul Giamatti and Tom Wilkinson has definitely got its tongue stuck firmly in its cheek.

A quick look at Gilroy's bio reveals a man very confident in the spy genre: he's penned for the Bourne trilogy as well as the Russel Crowe/Meg Ryan saga Proof of Life. However Gilroy is probably most famous for his directorial debut Michael Clayton, and in this follow up, he seems to have attempted to combine the corporate and the espionage worlds.

Duplicity is the story of two spies and their elaborate scheme to rip off the private sector and make away with enough dosh to keep them in the lap of luxury (evidently that's about $40 million). Julia Roberts (and her ample cleavage) play the driven and cynical Claire Sternwick to Clive Owen's eager, "swinging dick" Ray Koval (his description, not mine). Unfortunately, America's Sweetheart seems to have decided that crossing her arms and scowling is how one portrays seriousness. The photo above pretty much sums up her acting style for the entire movie, while Clive spends much of his time looking like he's stepped out of a Lancôme commercial. Then again, we're dealing with a star vehicle, so blatant fetishisation goes with the territory I guess.

Acting styles aside, I happily signed up for this duplicitous ride. Michael Clayton should almost prepare you for the twists and turns of Gilroy's gymnastic plot, which takes us to Dubai, Rome (aahh!), London, Zurich, Miami, Cleveland, New York and the Bahamas. This global criscrossing mirrors the zigzagging timeline of flashbacks which tracks the scheming from the 'meet-cute' six years ago, to present day. Yes, suffice it to say the storyline is convoluted.

However, I believe Gilroy successfully creates enough repetition within these flashbacks to keep from entirely alienating the audience. Each time Ray and Claire get together, Claire will mess with him somehow. Why? Because she can, and apparently because that's how spies get their jollies. It's wry, it's fun, and it highlights the film's cheeky nature.

Duplicity's final twist had me scratching my head a bit, but I think I've nutted it out. I won't spoil the fun, but can say that I think Gilroy gives us a visual clue: the final shot (another long take a la Michael Clayton) is the reverse of one earlier in the film. I think that might be the key.

In any case, I can recommend this fun, mischievous caper. The premise is fabulously absurd, Paul Giamatti pulls out all the stops and Tom Wilkinson has one great scene with a shamelessly phallic sight gag. So while the film might have been stellar with a more nuanced leading lady, there's still plenty of reasons to indulge in a little Duplicity.