The Double

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Film, 2013

The Double has a lot of things going for it in terms of craft, including gorgeous compositions and color, smooth, languid pacing, and nuanced, effortless performances from its main cast (even if the camera movement goes a little overboard occasionally). Unfortunately, it’s all in the service of a feature-length ode to “but I’m a nice guy.” Eisenberg’s Simon is a sensitive soul invisible to those around him, his greatest wish to be noticed and appreciated by Wasikowska’s Hannah, who is more interested in Simon’s confident, successful double, James. How dare she, oh the horror. Honestly, if I never see another filmed POV of a man looking longingly at a woman, as if she’s a desirable object to be attained, I’ll be extremely happy. The movie does directly acknowledge the fact that its protagonist is a huge creep, an outright stalker, but ultimately we’re meant to wish for Simon’s desire to be fulfilled. It’s a notion that, despite the absolutely lovely decoration, comes off as very ugly.