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Sarah (Karen Gillan) is dying and so she arranges to be cloned, as is common, so that her clone can take her place. However, her clone doesn't just want to replace her, she wants to be better, and soon Sarah's mother and boyfriend, Peter (Beulah Koale), both prefer the clone. When she is cured of her illness, she wants her life back, but in order to decommission her clone, Sarah must defeat her in a duel to the death. She hires Trent (Aaron Paul) to train her to fight, but does she have the killer instinct she will need to win? (Dazzler Media)
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Riley Stearns has a very distinctive, cold approach to the material, and this also reflects the character of most of his characters. Maybe I would have less of a problem with this movie if the main character were played by a slightly more likable actress, but I believe that it was simply intentional and Karen Gillan actually fulfilled her purpose and evoked the right feelings in the viewer. However, Dual is too much of a robotic film for me, and even though I usually give these indie sci-fi films three stars, here I really thought about whether not to stay at two. But for those pseudo-apocalyptic dialogues, I'll leave that third star, after all, Stearns managed to create a fairly interesting world that seems to have come out of an episode of Black Mirror, which would probably have a greater impact on me than this feature film.
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For me a superbly chilling weird artsy festival film that is bizarre, disturbing and very uncomfortable. Riley Stearns is good, his previous debut The Art of Self Defense was already a big hit and he goes for a similar style here. His style reminds me a lot of Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer) and after a long time I enjoyed the dialogue so much that I'm able to tolerate the lack of gore and action. The film is set in the near future where people who die have the opportunity to clone themselves, and that includes Karen Gillan, who learns she is terminally ill and doesn't have much time left. The actors act slightly like robots, but I found it strange and definitely interesting (the reasoning, the dialogue, the unprecedented language – this kept my attention a lot), plus there's a really nasty system with harsh rules; in short a world you don't want to live to see. The acting is great, Aaron Paul is downright excellent, the atmosphere is very depressing, there are some interesting twists and turns, and there's definitely an interesting ending. I loved this provocative and disturbingly bizarre downer. If I can talk about the film for half an hour after it's over, that's a good sign. I was so uncomfortable in places (the situations the main character experiences are hellish) that it had horror elements for me. Story 4/5. Action 1/5, Humor 3/5, Violence 1/5, Fun 4/5 Music 3/5, Visuals 3/5, Atmosphere 4/5, Suspense 2/5, Emotion 4/5, Actors 4/5. 7.5/10.
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Quality brainwash. If this strikes anyone as a full-fledged good movie, they probably weren't paying attention. From the start, zero acting, zero emotion, zero viewer experience, and zero use of brains by the filmmakers. The idea is good, but the execution is disastrous. It’s impossible to enjoy the plot or root for the characters when they haven't shown a single emotion, everyone is talking to each other like robotic machines, and the dialogue is like a soap opera. The film doesn’t have a proper finale, it has no action, no blood, no drive and the whole thing is incredibly piss-poor rubbish. Oh, and a near future where they clone people but drive cars from the last century and the phones look like old touchscreen Nokia's? Bravo, another cherry on top and proof of how much thought they must have put into the film.
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