DUPLICITY (2009) (***1/2)

Tony Gilroy goes from writing the BOURNE series to directing/writing the Oscar nominated MICHAEL CLAYTON to this con man, spy, romantic comedy. He plays his tale of corporate warfare with a plot that twists and flips through time. In the end, he has something to say about the cutthroat nature of business, as well as the lack of trust in relationships.

Ray Koval (Clive Owen, THE INTERNATIONAL) works for MI5 when he meets Claire Stenwick (Julia Roberts, OCEAN'S 11) in Dubai on assignment. He didn't know she was working for the CIA. They meet again and decide to team up in a corporate caper of their own. Howard Tully (Tom Wilkinson, MICHAEL CLAYTON) and Richard Garsik (Paul Giamatti, SIDEWAYS) are the CEOs of rival companies. Garsik has set up a whole unit within his company to spy on Tully, who has something big brewing. Ray and Claire plan to steal the big idea first.

Owen and Roberts have a much different rapport than the last time they worked together on CLOSER. They are two professional spies who understand that no one else will understand them as well as they do each other. But that's also their problem. They don't trust anyone, which is not the best foundation for a relationship. How they test each other is cruel and hilarious.

Wilkinson and Giamatti are perfectly cast as the corporate rivals. Wilkinson gives a zen-like speech about the evolution of corporations that seems just too close to a real philosophy of "profits are everything" CEOs. Giamatti is exactly what his character needs to be. He's got an ego that only is matched by his need to be #1. This is what drives his need to embarrass Tully. When everything is all said and done, we understand exactly why Garsik acts the way he does.

In another casting note, I was really impressed with the casting of Kathleen Chalfant (KINSEY) as one of Garsik's corporate spies. She's 64. In most films of this type, the female spy team member would go to someone like Julia Stiles or Jessica Alba, but in reality it would be someone older with experience and wisdom. Chalfant gives the character a spark too. She might have been doing this for years, but she still loves the rush. It's a little detail like this that gives the whole film more authenticity.

Gilroy uses the shifting timeline of the story to keep us guessing, as well as minimizing exposition. At first we think one thing is happening, but then the focus changes in the next scene when we jump back in time. We see what is going on, but are still wondering why, which drives our anticipation to want to see more.

Gilroy balances the con man caper and the romance, allowing both to drive the plot forward equally. The chemistry between Owen and Roberts has the quality of classic romantic comedies where the banter was sly. We believe these characters love each other, but can see how they could as easily tear each other apart as they could stay together. Some complain that the shifting timeline and plot twists are too confusing, but I found if you pay attention closely they build upon each other precisely. There's also the final resolution. Gilroy makes a daring final twist. Some complain that it's too disconcerting. It is, but that's because it's original and honest.