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Enemy, the latest film from Prisoners director Denis Villeneuve, begins with a koanlike epigraph: “Chaos is order yet undeciphered.” As self-serious as that line may be, Villeneuve quickly redeems himself with a series of hypnotically weird scenes—including one involving tarantulas and masked women at a sex club that’s right out of Eyes Wide Shut—that prove this isn’t entirely an indulgent exercise in pseudo-intellectualism. Based on a novel by Pulitzer Prize-winning Portuguese fabulist José Saramago, Enemy centers on an affectless history professor named Adam (Jake Gyllenhaal). When one particularly tenacious co-worker suggests Adam rent a silly rom-com, he gives in—and discovers that one of the actors looks exactly like him. Thus begins a Jekyll and Hyde-meet-Twilight Zone scenario, in which Adam disguises himself in girly sunglasses and sets out in search of his doppelgänger. As the look-alikes, Gyllenhaal turns in two sly and playful performances, sweating and stuttering as Adam, crowing and strutting as Anthony. Set in an unnamed Canadian city, the entire film looks stained by nicotine, all sickly taupes and jaundiced yellows. The score, a fitful mix of strings and metallic clangs, amplifies the sense of menace. And then there’s all the spider imagery, including a dreamlike sequence in which a tarantula-headed woman walks on the ceiling. Villeneuve, mostly to his credit, doesn’t bother to decipher the aforementioned chaos. What it all means—and whether it’s more than a creepy mood piece—is debatable. Is Villeneuve commenting on male insecurity? On isolation and desire? Or perhaps he’s just spinning us into an intricate, inescapable web.

Special Note

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  • Release Date: Tuesday, April 1, 2014
  • MPAA Rating: R
  • Critic's Score: B
  • Watch the trailer

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