Gemini Man

Sheerly as entertainment Gemini Man does not altogether work: a crucial revelation at the climax hits hard emotionally but feels inadequately justified in plot terms and the epilogue does little more than put the toys back in the box. All the same this is a film to ponder; once again leaving the impression that Lee is an adult among children – or to put it another way: one of the few interesting artists still at work in mainstream Hollywood.

Gemini Man does what it says on the tin. Ang Lee (Brokeback Mountain, Life of Pi) is a surprisingly left-of-centre choice as director, but Lee has always had a genius for integrating digital and physical effects that serves him well here. And there's a motorcycle based set-piece, fairly early in the film, which is as good an action sequence as I've seen in years. Bravo.

Gemini Man's potentially interesting premise - of a man who is literally forced to confront his younger self - has been through so many iterations over the course of the past 20 years, it's had the life sucked out of it.

It gives you two Will Smiths for the price of one, but you still might feel ripped off by its clunky dialogue, thin characters and underwhelming action. Encourage your younger clone to avoid it.

Its old action-movie trappings, the quaintness of it, cannot be reconciled with its ultra contemporary execution.

...a visually stunning, sporadically awkward, slight bit of popcorn entertainment that will engage those forgiving of style over substance.

As impressive as the two Will Smiths trick is, you'll be just as aware of the movie's hoary script and a fist-gnawingly awful turn by Clive Owen as the villain.

The digital novelty is striking for the first 10 minutes, silly for the next 10 minutes, and by the end of the movie you're pining for the analogue values of script and direction.

Come for the technical innovations, stay for... hmm. Two Will Smiths for the price of one just ain't worth it.