Turns out, it is easier to create a human clone than it is to destroy one. Or so goes writer-director Riley Stearns’ morbidly satirical, grimly absurd parallel version of the world as we know it. I…
,” for those who have themselves copied, then change their minds for whatever reason, just one course of action exists: The original and his or her clone must face off in a televised death match. Whichever party survives the duel can now carry on as the one and only, unique version of the dittoed individual.
“Dual” offers neither the genre-movie thrills nor the button-pushing catharsis of a conventional popcorn flick, but then, that’s what makes Stearns such an original storyteller. After a suitably intense opening scene, in which a dude duels … a remarkably similar-looking dude on a floodlit football field, audiences might reasonably expect an even more exciting showdown between Sarah and Sarah’s Double .
And then Sarah wakes up one morning with her sheets soaked in blood. She goes to the hospital and learns that she has an incurable stomach disease. The doctor drops this two-ton anvil of bad news on Sarah in an ambivalent tone, explaining that she has a 0% chance of recovery.
The way the process is intended to work, Sarah is supposed to spend her remaining time alive “imprinting” on her clone — a period during which this made-to-order duplicate can learn how to become the person she’s replacing. But Sarah’s Double isn’t a double so much as a new-and-improved version of her original: She’s Sarah minus the love handles and hate-the-world attitude.
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