I wonder if Sean Ellis knew exactly what he wanted, the movie is very confusing and ends like that, unexplained what I just saw, who are the duplicates of the characters, are there really duplicates or everything is in the imagination of some of the characters, everything is unclear and chaotic.

I love a suspense thriller that doesn't run much beyond 90 minutes unless it encompasses a large ensemble of characters and it's plot contains complexities and needs time to settle each one. I was in a positive frame of mind as I watched the first 30 minutes.The central character, a young attractive radiologist is asked by a co-worker if she forgot something...he just saw her leave the building, and she knows that's not true. Outside, she sees an image of herself driving. Later she is involved in a head-on car accident. As she recovers in the hospital and we see repeated images of the crash, not once does she ask about the other driver/passengers. What an amazing lack of concern considering it was her fault for staring in her rear-view mirror. As mirrors break in several locations including her father's office restroom, her apartment, her boyfriend's apartment, a friend's apartment, and initially, her dad's apartment!!!! The clock is ticking on this 90 minute film. As we are two thirds of the way through, I pause it and think, 'they'd better come up with some revelation or explanation soon, because this'll be over in less than a half-hour.' My concern proved regrettably true. Yes, as we are beaten over the head with the exact double-taking-us-over plot, it ends abruptly and miserably. The classy camera-work, a petite and attractive heroine to care about and some fine co-stars and suspense were the positive ingredients that resulted in this bagful of broken mirrors. If there was a book, I will not read it because the issue is the film.

For me this is an enjoyable film, I did enjoy it, but I'll confess at the outset that that was for some of the wrong reasons. First of all (hopefully not quite first and foremost), Lena Headey is hot, and for many a viewer that will be enough of itself to keep one watching. Though definitely an aesthetically-pleasing experience for the viewer, the fact that we (he) naturally enough get(s) to see her naked is at some level improper and gratuitous; and all the more so when it is noted that the other leading female character in the film also strips off completely - in the context of a shower scene. We do seem to be heading (if you'll pardon the pun) into Hitchcock territory, though one of the pleasures of this piece of work from British Director Sean Ellis is that we long remain unsure what genre of film this actually is - traditional thriller, modern thriller, sci fi or horror. I don't find anything wrong in that, and indeed took pleasure in it. Equally, a second "easy" reason for liking this film is that it suits the tastes of the lover of films set in London. For Brits like myself (but I think not only), London has a solid, familiar feel about it. Maybe it's not actually friendly or inviting, quite, but it is secure and organised. The perfect setting, therefore, for dystopian and/or disturbing visions from Sherlock Holmes to "A Window in London" to "Children of Men" to "28 Weeks Later" to "V for Vendetta" and you name it. So for this viewer at least, this is a film that ticks quite a few boxes before we even really start with it. Unfortunately, a key element of those traditional thrillers - particularly those made in London or by Brits - is that we have at least a few normal characters, a few normal incidents, a few normal witnesses to hang on to, however weird things get. Investigative journalists, police inspectors, army officers, doctors, priests and so on all used to appear in films like this, not by chance, but because that's what you hang a weird story on, if you want to please those watching. Here everything is portentous (verging on the pretentious), and there is a ready suspicion that "everyone is in on it", a tenet as implausible as it is destabilising and ultimately perhaps unsatisfying. Those who set the viewer up in such a taunting way had better have something really impressive to offer by the time the final credits roll, and perhaps we do indeed have that here. Overall (I believe!) the film does resolve itself into just one of the possible genres, and we do ultimately have the threads of a clear and somehow unified story emerging from all the dark looks and significant comments. But "leave them wanting more" has its limits, before it just becomes mean or pointless. A film that has enough minutes spare to depict both of its leading ladies in the nude can surely afford to give us one solid and satisfying clue as to what has really been happening here, and of course WHY? They could have achieved that using one of several authority figures beyond the main family that seemed to be becoming central to (this aspect of) the story, but then elected to let those characters disappear from the film completely - probably not for mysterious, plot-related reasons, but just because the script petered out! Overall, this is a good-looking and genuinely scary film which is indeed enjoyable, hence there is by no means a negative rating. But - by sacrificing just 5 per cent of its subtlety and nuancing of plot, for the sake of 5% more clear storytelling - it would not have killed itself as an example of the film-maker's art, and would have left this viewer even more pleased with the experience than he actually was.

I watched this today afternoon having tried to finish this film on two or three prior occasions. I should have saved my time.Spoilers follow - In this obtuse, nearly plot less movie, mirrors admit doppelgangers into a gray depiction of London. The film is 89 minutes in length. It could have easily been cut to 45 or even 35. The shots and scenes drag, and for no apparent reason. The director may have thought he was creating a suspenseful atmosphere by using this repetitive technique... it was actually just boring.There have been many movies that made good use of "evil twins". Even some recent TV shows have done this (The Vampire Diaries, The Sarah Connor Chronicles, Buffy the Vampire Slayer and the Outer Limits). This film makes little effective use of its doppelgangers.Lena Headey is wasted in this flick. She's very watchable, but the director's ineptitude prevents her from succeeding. In one of the few effective scenes, she finds a dead body in her home. In the climactic minutes when another character confronts her at her place of work, she also does well there. That is not good enough, however... to little too late.I am sure Mr. Ellis thinks he is paying homage to Alfred Hitchcock, William Friedkin and other famed directors with this . Truth be told, Ellis is not fit to carry Hitch's athletic supporter.