
The Image of You kicks off with Anna and Zoe Mercer (Sasha Pieterse) who happen to be monoamniotic-Monochorionic twin sisters. The film promises, for example, that all films that have monoamniotic-monochorionic twins are less than 1% of all films. But equally unusual, one would say, is such a movie as The Image of You, which also is not “absurd” but still “cliché-ridden”. If the child’s parents were newborn, then they can score points as Gone Girl and also Dead Ringer but certainly, they were still smoking and drinking when they were pregnant.
Ana gets under Zoe’s skin when she refuses to relax and just be a good girl. This does not mean that the sisters lack enjoyment in their day to day activities. They pursue part-time jobs at the Community Resource Centre and get into acting and modeling respectively, all of which is supported by their high-profile parents Mira Sorvino and Nestor Carbonell. Ana is dating app-driven even though it seems quite contradictory given her naivety, Zoe however finds herself rolling her eyes at the thought. It is indeed commendable that Alexia has come to terms with the fact that her daughters would rather hang out with each other than her, but Zoe does have some anger issues.
Ana goes on a date with investment banker Nick Parker Young, he appears to be an interesting date from afar however the same cannot be said about his personality. Nick and Ana lack any depth to their characters which divests them of any convincing elements. The supporting cast members appear to be the perfect backdrop to the multitude of potatoes that are Ana and Nick making the romance quite lackluster and unenthusiastic.
The film suffocates the audience’s rational zeal by combining the two characters into a single whole, suggesting that they are perfectly compatible, even when the other part does not express love for the other (they claim that love exists). From the very beginning of their acquaintance until the moment they got engaged, which was after 6 weeks of engagement just to avoid reminding the world of Shylock. Let’s put it directly, the epic romance that tries to outdo other aspects comes off as chaotic and overused for a Hallmark Channel film. As dramatic as the memories are or as mercurial are the well-edited split screens, Zindagi Na Milegi Dobara still remains trapped in the BasiX relationship-driven storyline.
Zoe, however, does not feature in their romance. From the moment she meets Nick, Zoe has a reservation about her and, in fact, has a good reason to do so. For, he states, he uses his middle name instead of his first one on dating sites. She has a number of images where she can see his real face, but he argues that it is for reasons of confidentiality. For one, she observes how Ana’s date with Nick went, she interacts with Ana at the workplace and discusses this with her mother. But of course, much to Ana’s displeasure, she also refrains from visiting him alongside her new husband. Still she gets to know who Nick is and this is not the way in which she, or Nick, would have expected it. And this is where the action and suspense part starts with a ‘Boom’.
Some of the audience, however, might have worries, for the good news is there’s only so much in filth they can watch. Not so, in the case of Mönica Moser who has stylishly and dramatically brought to life Adele Parks MBE’s literary work. The movie can only be awarded points for casting, but in terms of accounting, it measures up exactly to the Scary Movie Matrix template. Like any other detective, it does capitalize on the interactivity between the audience and the film, putting them in the shoes of the main character, filling in the gaps with the Aldoschos and Zetesfils. If you’ve already seen more than ten of films of the same kind, then by the second half of the film, it is quite logical for you to guess how this story will unfold.
Such speculations as these, of course, are true. The cast is amazing. Between lovers Parker Posey and Lita Sabon, there is always something to fiddly which translates to humor. While Chris Sivertson’s screenplay attempts to confine Pieterse to a stereotyped box, she does credibly animate a spectrum of characters of twins. The scene where Z P tells Zoe about the engagement in less than six weeks is perhaps the most exciting.
Understandably, Zoe is given greater scope and is allocated better lines and scenes. Strangely enough, even though an almost childlike optimism seems so out of place, the film’s major twist which was vaguely presented in the beginning of the film, and then thrice during the film in the most cliche of situations, stands out quite well in terms of global storytelling.
The Image of You is one of those movies in which rage, anger, and other feelings stop after some time as it ceases to ventilate all those emotions and starts to evoke a rather crass reflection with touches of dry humor, although not quite strong. The performers’ deliveries differ and while the qualitatively strongest ones again try to be normal people during the opening, it doesn’t take long for them to turn into flesh-out cartoon characters. For sure Jeff Fisher, the picture’s head, must be aware of the picture he works on. For example, when Zoe is walking towards the screen, it is rather sad that no horse is able to have her almost all the women’s head in the overgaze of history before being silenced by their husbands. He is particularly fond of moving in closer to people during their moments of astonishment, and to add the songs that accompany all these ridiculous scenes does not help the film to be taken seriously either. There are definite troubles with the sequence of the events too. Definitely the order of the events is compromised too. If only she could be brain-dead and see how close these mules are. This is assuming one can even survive the first act which is nothing short of painful.
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