United States. Directed by Dennis Iliadis, 2013. Starring Rhys Wakefield, Ashley Hinshaw, Logan Miller. 96 minutes.
Angad’s parents are out of town for the weekend, and you know what that means: party of the century! And he’s pulled out all the stops for this one. Booze, music, dancing, strippers, a sushi girl, the works. This one’s gonna be epic.
Too bad David (Rhys Wakefield) probably won’t enjoy it. His longtime girlfriend Jill (Ashley Hinshaw) broke up with him, after finding him kissing her rival for the collegiate fencing championship. He’s taking it pretty hard, but best friend Teddy (Logan Miller) is insistent that he at least try to have some fun. And when he sees Jill at the party, he realizes he might–might–have a shot at a second chance.
That’s always assuming David survives the night. Angad promised surprises galore, but there’s one surprise nobody could have expected…or planned.
Logan witnesses the first oddity: a drug dealer shot dead in the driveway, by his own exact duplicate. Teddy scores with the girl of his dreams…and as she steps into the shower, her doppelgänger walks through the bedroom door.
There’s two of everybody at this party, and the doubles seem to be living through the same events as the originals, only a few minutes later. Who are they? Where did they come from? And do they have sinister plans in mind?
“What would do me head in is…does he think the same way, look the same way…how would I know which one I was?”
—Karl Pilkington, when asked about how he would respond to meeting his own doppelgänger
The good news is that you can’t fault +1 director/co-writer Dennis Iliadis and co-writer Bill Gullo for falling prey to the usual doppelgänger/bodysnatcher clichés. The bad news is that there are so many other things to fault them for.
Let’s start with the positive. It’s easy to go into the movie expecting a mash-up of The Faculty with Can’t Hardly Wait, but the evil twins of +1 aren’t evil. They’re not alien invaders or mystical shapeshifters. They’re exact copies of the characters, with the same motivations and backstories. They only differ from the “originals” because different things happen to them in the present.
At this point, I originally planned to write “they’re just as confused and scared as the originals” but that’s not strictly true. If anything, they’re more confused and scared. They must cope, not only with the fear that comes from seeing their doubles, but also with the occasional instances of “missing time” (from their point of view) as their timeline comes closer and closer to syncing up with the original.
Knowing there’s an alien monster wearing your face isn’t what scares the characters. What scares them–both groups of them–is not knowing who the others are or why, and not realizing that the two groups are exactly alike.
This is easily the most fascinating aspect of the film and what separates it from most “teen scream” flicks out there. Iliadis and Gullo are as interested in exploring the philosophical ramifications of their premise as they are with delivering T&A and violence to the audience. Their film often feels like a lost Twilight Zone premise: “The Monsters Are Due at Angad’s House.”
The premise almost, but not quite, covers a few severe problems with the story. The party is the same party we’ve seen in a thousand times in a thousand teen movies. There’s more nudity, but that’s about the only difference. The characters are severely underdeveloped, and everything you need to know about most of the main characters can be summed up in a few words. David is a nice guy who blew it and wants to redeem himself. Teddy wants to get laid. Alison is unpopular and doesn’t even want to be there. Melanie is the target of lust. The one exception is Jill, who’s a bit more complex than the others, but sadly the script seems to see her more as a MacGuffin than as a character the audience might identify with.
It’s a credit to the cast–Wakefield, Miller, and the adorable Hinshaw, plus twins Suzanne and Colleen Dengel as Alison (you’ll have to watch the movie to realize why) and Natalie Hall as Melanie–that they can bring these characters to life, because the filmmakers don’t have much interest in investing them with much personality.
Character underdevelopment hits several subplots very hard, and exposes the streak of misogyny that underlies David’s quest to reconcile with Jill. The kiss that breaks the camel’s back is a more complex situation than she sees, but he never speaks up about it (not that we see). She has a lot to say about his personality flaws, but the audience rarely experiences them for itself, and sympathy for one character for another becomes a matter of “he said, she said.” I couldn’t shake the feeling that the filmmakers meant me to think that Jill was being unreasonable, and David’s journey of understanding rang distinctly false to me.
The subplot culminates in something I found personally horrifying but which the film seems to present as a happy ending. I don’t want to spoil it too much here, but the film probably doesn’t benefit from my having watched it so soon after the Isla Vista murders and the ensuing discussion about misogyny in the media. The resolution of this plot went a long way towards ruining my experience of the film.
Ultimately, +1 is a bitter disappointment. It’s a project with a germ of originality, a lot of potential and a few thought-provoking moments, overshadowed by teen-comedy tropes and a severely mishandled subplot.