Duplicity

**1/2 Stars

In a season that usually consists of trashy, throwaway flicks, Tony Gilroy's playfully tricky spy-thriller Duplicity should be placed at much higher standards. Moreover, although I thoroughly respected the film’s fine craftsmanship, I can't say that I wasn’t a tad disappointed. This is Gilroy’s follow-up to Oscar-nominated Michael Clayton, and Duplicity has the same weirdly induced incoherency as Clayton did. It’s not a matter of bad filmmaking by any means, but rather Gilroy pushing the envelope so much that the payoff feels rather forced.

What’s frustratingly invigorating about Duplicity is the fact that it has so much talent inside of it. Julia Roberts gives her sexiest and most relaxed performance in years as Claire Stenwick, a CIA spy who falls for MI6 spy Ray Koval (the always solid Clive Owen). The two compete undercover for high level businesses and their two enemy employers. Industry giants Howard Tully (Tom Wilkinson) and Dick Garsil (Paul Giamatti) begin a fierce competition for control of a formula for a product that could potentially bring an unprecedented fortune to their companies. As Claire and Ray’s love begins to grow, so does their risk of getting caught, in a game they conspire to have enough money for one simple purpose: to retire rich and spend the rest of their days lounging in luxurious locations.

Sounds like it’s worth the risks don’t you think? If you’re in Ray and Claire’s position, absolutely. And I found it refreshing that this was the only real thing at stake. Gilroy has a real knack for wit inside his complex web of cat-and-mouse like espionage. An audience doesn’t want to see Julia Roberts and Clive Owen threatened with death, but rather an exciting ride filled with risky fun. Inside the dense and rather depressing corporate world Gilroy has realistically created, the fun is always mentioned, but it comes-and-goes in uneven measures.

ESPECIALLY when Roberts and Owen are separated for extended periods of time. If you’re going to have two of the sexiest stars in Hollywood who have dynamite chemistry, why on earth would you limit their screen time together for a few more pointless plot twists? When Duplicity takes a step back, relaxes, and lets its two stars have fun together, everything clicks. The first 90 minutes or so are great, but the last 30 or so takes a rather dreary turn into twists that Gilroy has a tough time taming.

I think Gilroy is a better writer than he is director. Maybe that’s preaching to the choir considering his credentials (most notably the Jason Bourne trilogy), but that’s just how I feel at this point in his career. With Duplicity, he certainly still keeps his art-credibility, but I’m hoping for a much stronger effort in his next feature.