This, in turn, disgusts the goddess Hera, who basically comes down to Earth and says, “Right, if I babby you up with Zeus’s son, will that shut you up? He’ll probably stop your husband or whatever.”
This is the sort of horror movie that gets in, shouts “boo!” and immediately moves onto something else, never letting anything build or become particularly unsettling.
To call The Double’s visual style unique would be an understatement – the closest I can get to describing it is “Beetlejuice meets Nineteen Eighty-Four”. It’s Orwellian, otherworldly, and unsettling.
The prevailing mood for the first half of the film is “distracting”. There are distracting appearances from James Woods and Masi “Hiro Nakamura” Oka, and a distracting sequence where Steve Jobs dances about in a cornfield.
We root for and relate to our man because we can see the fear and frustration in his eyes, not because he’s a handsome, God-fearing war veteran-cum-action hero with a stunningly beautiful, American Dream family. Or, like, Tom Cruise or whatever.
I was perfectly happy watching Toy Story 3 and Monsters University on my own steam, and even went to see Despicable Me 2 with a group of other twenty-something guys, but this is one to sit your kids in front of while you’re busy doing something else.
Lingering shots, wordless conversations, and unsympathetic characters abound. There are only so many times the “strained home life” card can be played before you start wishing the characters would sit down and do something about it.
For the most part, it just holds up different things and says, “Look! This thing is funny!” And usually it is… it just comes off looking more like a 70s-themed sketch show than a cohesive story.
The film’s patchwork, low-budget style is played to comic effect, calling back to cult films from the 70s and 80s – and it makes the occasional moments of genuine, shiver-inducing gore and creepiness that much more powerful.