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Kritiker-Rezensionen
The Double
Richard Ayoade Großbritannien, 2013
The movie builds on a long history… Film has proven an effective medium for showing how easily we accept the absurdities and injustices of the workplace. The Double twists this vision further by locating a chronically absurd workplace in an even more absurd environment and allowing the two worlds to bleed into each other, so that the boundary between work and life becomes weirdly blurred.
May 09, 2014
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Despite its glum themes, the movie chugs along at a nice pace, and the script, by director Richard Ayoade and Avi Korine is filled with mordant and often colloquially vulgar comedy, which throws the already off-kilter proceedings into interesting relief. Ayoade, a comedic sensation in his native Britain, here applies his obvious intelligence and film-style-absorbing qualities to a better purpose than he did in his directorial feature debut, 2010’s teen-angst chronicle “Submarine”…
May 09, 2014
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Like a lucid nightmare on the subway at odd hours, The Double leaves one feeling intellectually stimulated, creatively charged, and close to existential panic. The second feature directed by Richard Ayoade is a dark and surreal comedy-thriller that takes a dizzying jaunt through cinematic and literary allusion, parody and paranoia.
May 07, 2014
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Ayoade borrows Kafka’s bureaucratic nightmares without the cosmic humor, David Lynch’s grotesquerie without the unhinged desires, Wes Anderson’s curation without the image sense or world view, and, of course, the plot of Dostoyevsky’s eponymous novel without the vertiginous subjectivity… Ayoade, submerged in his earnest cleverness and surrounded by his objects of pastiche, is essentially another Simon, desperately seeking recognition.
May 05, 2014
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The result is both a technical marvel and an appealingly eccentric curio. For no matter whether The Double is viewed as a ‘night terror’, a Kafkaesque comedy (with suicidal tendencies), or a long, dark journey into Simon’s schizophrenic ‘ames’… Ayoade has crafted a disorienting human mystery tinged with romance, melancholy and humour blacker than night — as well as a quirky entry in the ‘invisible friend’ subgenre.
April 03, 2014
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Conjuring the mirror image, Eisenberg tweaks his trademark affectations in service of an antithetical creation; his sparrowlike twitches take on hawkish dimensions. And in “playing double,” he joins a tradition of actors juxtaposing familiar and oppositional takes on their personae (see Lee Marvin in Cat Ballou, Nicolas Cage in Adaptation, Jake Gyllenhaal in Enemy)—roles which harken an entry, or at least a digression, into character work.
March 20, 2014
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Whatever the film’s interest may be in the marginalized, the writer-director never alludes to what would even be worth fighting for in this nightmarish industrial landscape. In the absence of any sense of hope or good, the potent cynicism of The Double seems childish and frustratingly thin… Would that this gloomy drama didn’t feel so rigidly pre-determined, as The Double might have come off as a genuine lament rather than a pessimistic tantrum.
March 13, 2014
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Based on Dostoyevsky’s 1846 novella, the film’s strengths center on the nightmarish dystopia that Richard Ayoade has created through excellent production and sound design… It reminded me of Adam Rifkin’s 1991 film The Dark Backward. The Double is a fascinating piece of filmmaking, with the emphasis squarely on the “dark” and not the "comic.
January 20, 2014
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Despite a somewhat rough start, “The Double” confirms handily that Ayoade is indeed the real deal, an ambitious young filmmaker working in a register shared by far too few of his contemporaries… [It] taps into a deep reservoir of psychic turmoil even as it navigates the script’s abundant jokes, and the nightmare of the heart of the film is doubtless universal.
September 17, 2013
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Ayoade’s chief accomplishment in The Double is a remarkably sharper display of his self-deprecating humor, a perfect fit for Eisenberg’s natural garrulous cadence. Ayoade’s comedy also naturally suits the surreal tone of the narrative, and he’s adept at toning down the wit when the film becomes more somber and focused on the psychology of its main characters.
September 16, 2013
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The movie is Kafka and Terry Gilliam and the Talking Heads. The sun never seems to shine. Death smirks from everywhere. But the camera and the editing never stop moving. Ayoade knows how to break up space for comedy — he’s Jacques Tati through a box grater. You can almost dance to this movie. And here Eisenberg gets a well-written part, something that lets him stammer and react and power-walk, something that lets him think. Right now, no American actor seems smarter.
September 12, 2013
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The film makes terrific use of Jesse Eisenberg’s twin modes, nebbish and asshole, casting him in the roles of both a meek analytics expert and his confident, glad-handing new co-worker… There’s not a whole lot to this version of The Double, but its visual comedy and offhand surrealism make it a mild pleasure.
September 11, 2013
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