She’s blond, thin and busty. He’s gangly, awkward and scrawny. One thing is clear – she’s out of his league. Not surprisingly, that’s the guiding premise of “She’s Out of My League,” a fluffy comedy that barely slides by on its charm and good looks. Although it is touted as the funniest film since “The Hangover,” it is a less-than-hilarious disappointment.

Kirk, played by Jay Baruchel, is the lovable everyman — a Pittsburgh airport security employee who drives an ancient Honda and spends most of his time bearing the brunt of his raucous friend’s humor. Enter Molly, played by Alice Eve — the stereotypical blond bombshell and mythical “10” on a scale of physical attractiveness. Wherever she goes, men all but bow down to her physical prowess.

The unlikely pair begins dating after a kind gesture lands Kirk in Molly’s good graces. At first, it seems the duo has a chance at love, but his insecurities eventually threaten their unexpected bond.

Baruchel is accidentally endearing and mildly amusing in spite of himself. He pulls the dead weight of the script throughout most of the film, cracking a sheepish grin when appropriate. His dorky-yet-lovable demeanor hasn’t lost its luster since his small role in “Knocked Up,” and without it, this film’s concept wouldn’t have survived.

Eve is a relative newcomer to the big screen, having only starred in independent films and on Broadway, but with her Hollywood good looks she will no doubt have staying power. Her performance as Molly was decidedly one-dimensional, although it is difficult to tell whether that was born out of the character or out of inexperience.

“She’s Out of My League” can’t decide if it wants to be a romantic comedy or a raunchy Judd Apatow movie. It drifts distractingly between formulaic tugs at the heartstrings and crass lines. Besides being sparingly funny, it is predictable and lacks a storyline. The main characters are never fully developed and the plotlines are spoon-fed to viewers.

However, several humorous co-stars pepper the film, ensuring the money spent for a laugh at the theater isn’t completely wasted. Stainer, played by T.J. Miller, Kirk’s crude and rude best friend, delivers the most memorable lines and squares off with Molly’s best friend Patty, played by Krysten Ritter. Patty’s bitingly sarcastic humor evens out the sickly saccharine tone often present in the film. An underused Debra Jo Rupp — of “That ’70s Show” fame — plays Kirk’s sweet mom and provides a few good laughs.

If viewers can ignore the film’s various shortcomings, much like Molly did for Kirk, “She’s Out of My League” may be considered a joyful romp through predictable Hollywood paradise. Unfortunately, once first impressions fade, it is clear there’s not much more to it than pretty faces.

Grade: C-

While the mall is now alive with spring fever, many students — mainly female — are flocking to tanning salons. Despite stacking evidence that tanning salons cause health problems as serious as skin cancer, tan is proving to be the new pale.

Over the past decade, the popularity of the famed “fake bake” has only increased. The tanning industry now rakes in a mighty $5 billion per year, according to the Indoor Tanning Association, and approximately 25,000 tanning salons span the nation, not including booths within health clubs or homes. A rapidly growing number of people are desperate for that golden glow, regardless of the effect it may have on their bank accounts or their health.

Tina Day is a third-year nutrition student at the University of Maine and a tanning enthusiast. Although she is a dedicated student who hopes to care for the health of others someday, she has been tanning since the age of 18 and frequents Sunkissed Tanning, a popular tanning salon chain in Bangor.

“I feel like I look better with a healthy glow and my skin just feels better,” Day said of her tanning habits. She can be found tanning about two or three times per week.

Maine’s frigid, dark winters encourage people to escape to a warm booth and dream of a tropical paradise rather than traipse through drifts of snow to catch some rays. Seasonal Affective Disorder, or SAD, is a common affliction and Day often uses tanning as a way of dealing with the gloomy weather.

“It just feels good to warm up and get my skin tingly sometimes when it’s cold outside,” Day said.

Recent evidence to suggests tanning could be truly addictive. A 2006 study by Wake Forest University revealed the ultraviolet rays produced by tanning booths and the sun help release endorphins in the body, the chemical that creates a sense of euphoria. This same chemical can come from exercising or eating chocolate, but when it comes from the harmful rays of tanning beds, the results are often less than euphoric.

“I understand tanning increases my risk of skin cancer,” Day said. “I just make sure not to get severely sunburned to reduce my chances. I’d rather alleviate my winter blues and risk my health for my happiness.”

It is not uncommon on the UMaine campus to come across people who have mysteriously maintained the glow of a Greek god or goddess. In stark contrast to the skin tone of most Maine citizens during early spring, these tawny tanners hold to their routines like bees to pollen, refusing to favor health to a tan.

Standing on the opposite side of the pale vs. tan debate is Lindsey Timberlake, a third-year zoology student. Although she is guilty of getting sunburned once or twice during Maine summers, she prefers to retain her natural skin tone during the winter.

“It’s cancer in a box,” Timberlake said of her reasoning for keeping far from the tanning salons so often visited by her peers. “Also, I don’t want to be orange, and I can’t sit still for that long.”

Besides her anti-tanning rationale including the health concerns, hue and tendency to fidget, she can’t find a reason to spend money in order to tan. Timberlake prefers to catch her rays during the summer, whether while visiting a beach near home or playing outside with her brothers and dog.

“I prefer the all-natural look, and I feel like I could get more done by being outside and not stuck in a box trying to accomplish the same thing,” Timberlake said.

On this, Day and Timberlake agree. “I like [natural light] because it’s real and you get the great summer atmosphere too if you’re at a beach with friends,” Day said. She reserves tanning “just for the colder months when I can’t lay outside and get natural sunlight.”

Ironically, pale skin is related to purity and divinity in various Eastern cultures. In Japan, “bihaku,” meaning “beautiful white,” is considered an ideal, discouraging many Japanese women from visiting tanning booths.

Last January, Reps. Carolyn Maloney of New York and Charlie Dent of Pennsylvania decided to take action against tanning booths, entitling their bipartisan legislation the Tanning Bed Cancer Control Act. The act aims to enforce stricter regulation of tanning beds, including reduced UV rays, limits on the amount of time exposure allowed and more warnings for consumers.

What many avid tanners may not realize is the gradual darkening of their skin is due to skin cell damage, according to Health magazine. The color skin becomes as a protective mechanism is called melanin. With prolonged exposure to UV rays, skin turns darker to protect the cell’s DNA.

As various universities, health experts and legislators fight against the tanning trend, thousands of Americans show no sign of quitting the dangerous habit. According to a recent article in The New York Times on the proposed legislation, people who start using tanning beds before the age of 30 have a 75 percent higher risk of developing melanoma, the most lethal form of skin cancer, than those who avoid tanning booths. Despite these facts, it is unclear whether or not there is an end to the trend in sight.

Like Ugg boots, Crocs and wearing leggings as pants, tanning is a fad that may linger much longer than its anticipated life span.

With Valentine’s Day less than a week away, romantic movies with stirring scores and attractive leads are popping up on movie screens nationwide. “Dear John” recently joined the ranks, touting a screenplay inspired by romance writer Nicholas Sparks’ novel of the same name. Although it will not be sweeping up any Oscars this year, “Dear John” succeeded in pairing pretty people, a catchy soundtrack and an unlikely love story for rather typical results.

Amanda Seyfried of “Mean Girls” and “Mamma Mia” is Savannah Curtis, an average young woman enjoying her last few weeks of summer before starting college. Life on the picturesque shores of North Carolina is good, but something is lacking until she meets the handsome and mysterious John Tyree, played by the ever-chiseled Channing Tatum. Their love affair is instant and intense, reminiscent of Sparks’ “The Notebook.” Within a few short weeks, John and Savannah fall in storybook love just before John is set to ship out for the U.S. Army. The swooning couple must then decide how much love means to them as they send letters to each other across continents.

“Dear John” portrays war in an honest way, not glossing over its dangers and the rigid expectations placed on soldiers. As John’s tour goes on, he must battle both the enemy abroad and the complications of his relationship with Savannah. A particularly difficult war scene is not romanticized, although it is difficult to believe when set within such a pretty package.

Tatum is as ripped and masculine as ever — complete with a brooding quality that makes him a fresh target for teenage girls. His acting skills leave a bit to be desired, but he handles the drama of the role surprisingly well, leaving behind his forgettable performance in the “Step Up” films. Seyfried also takes on a more serious role with maturity, proving that she is capable of more than the blonde bimbo role. Together, Tatum and Seyfried paint a believable picture of young romance, ready-made for wandering into the sunset on horseback.

The real screen stealer here is Richard Jenkins, whose performance as John’s father is remarkable. His quiet but commanding presence on screen makes for some of the film’s most interesting scenes. Other than a few moving moments, “Dear John” is a bore, carrying on through its two-hour running time like a drawn-out Lifetime movie. Perhaps its attempt to stick to the original storyline made for a less-than-thrilling transition to film, but it often halts inexcusably and ends awkwardly.

If a charming, simple, romantic evening is what you seek this Valentine’s Day, “Dear John” may be the perfect choice. Provided you and your date or friends share a long attention span, it will certainly satisfy the hopeless romantic in you. Just don’t forget the tissues.

Grade: B-

On Thursday evening, the jovial Douglas Rothschild shared his love of poetry with a small group of faculty and students on the University of Maine campus. The event was held in Jenness Hall as the final installment in the New Writing Series for the semester.

Before Rothschild began his reading, Steve Evans, coordinator of the New Writing Series and associate English professor at UMaine, introduced him. Evans gave Rothschild a lively introduction, explaining how they met in college and that Rothschild “can’t stop unfolding ideas. He’s one of those great poets who’s a walker. He’s peripatetic.”

When Rothschild stepped up to the podium, he began reciting in a deep, resounding voice that echoed through the small room. His first poem titled “Imminent Danger” was made up of one word: alarm. In his unique tone, he repeated “alarm” at a high decibel several times.

Most of the poems Rothschild read were excerpts from his latest book “Theogony,” released this year. He mixed in poems from a few other publications, including the ingeniously designed “Matchbook,” which looks like an oversized matchbook, and the politically charged “Minor Arcana.”

He was dressed in a white and grey pinstripe suit, red tie, shiny black shoes and a thick mustache. His work was exactly what is expected of great poets — rich imagery, intriguing language and a way with words.

Images like “a waterlogged carcass of a bagel forever out of reach” and “a lace curtain starched too stiff” jumped off the page as he spoke, while phrases such as “to think, all of it exists because some of it is possible is simple-minded” encouraged the audience to think.

One of the most remarkable aspects of Rothschild’s performance was his sense of humor. While not always blatant, it ranged from food for thought such as “off-white held no importance until bleach was invented, and bright white became the standard,” to the playful “so much depends on the not-red wheelbarrow.” During the question and answer period, he assured the audience “it’s OK to laugh.”

Rothschild said he is fueled by outrage and admiration. He finds inspiration in the beauty of nature and the anger of politics. He also gains inspiration from other poets.

“You start somewhere alive, interact with things, then think ‘Hey, that’s interesting,’” Rothschild said. “I’ll start there. I write things down, and I take away all the parts that don’t look like a beautiful poem.”

Rothschild urged the importance of emotion in writing poetry and finding a balance between drama and humor. “You put in these light moments where you come up for air. You’re leading people in a direction, but you don’t want to oppress them,” he said.

Rothschild has more to tell the world and will continue to write inspired poetry. As a line from one of his poems read, “I regret that I have run out of paper, as there is still so much to write.”

(photo courtesy of The Poetry Game Show)

In the 1930s, Amelia Earhart broke records and defied stereotypes with her skillful aviation and affinity for wearing pants. The new biopic “Amelia” follows her rise to fame and sudden disappearance with mixed results. With star-studded leads and awe-inspiring panoramas, it is an enjoyable film only slightly tainted by dark clouds.

Anyone with a basic knowledge of American history is familiar with the tale of Amelia Earhart, played by Hilary Swank. In 1928, she met charming publisher and publicist George Putnam — or “G.P.,” played by Richard Gere — who asked her to join Joe Anderson’s character pilot Wilmer “Bill” Stultz and Louis E. “Slim” Gordon, played by Aaron Abrams, on a risky flight across the Atlantic Ocean. Earhart was only a bystander on this flight and served mostly for publicity’s sake, but it wouldn’t be long before she made the trip on her own.

On May 20, 1932, Earhart became the first woman and second person to fly over the Atlantic Ocean solo. Through strong winds and rough conditions, Earhart succeeded in completing one of her greatest dreams, but this remarkable success wasn’t enough. She went on to break more records, including a solo flight over the Pacific. But there was one more touchstone she had yet to reach.

In 1937, as Earhart reached her 40th birthday, she decided to attempt a solo journey around the world. Although her stubbornness kept her from wanting to seek help, she was convinced to take along Christopher Eccleston’s character Fred Noonan for his navigation expertise. The two made it within 7,000 miles of their fantastic 29,000-mile journey before facing the troubles that would lead to their infamous disappearance.

Too often, biopics resort to dry presentations of factual events or exaggerated caricatures of truth. “Amelia” strays from the pack and does neither. Instead, it offers a fresh perspective on the famous woman who kept America guessing her entire life. Swank is at the top of her game, personifying Earhart with brilliance and grace right down to her androgynous outfits and trademark freckles. Gere complements Earhart’s character as her husband G.P., offering sheepish smiles and unwavering loyalty in the face of Earhart’s fickle ways. There is no spark or blatant chemistry, but rather an underlying sense of endless love.

The breathtaking aerial views over the Atlantic Ocean, Africa, New Guinea and more add to the film’s ethereal sense. The ’20s and ’30s are captured perfectly by the period clothing and elaborate sets. “Amelia” transports its viewers to that turbulent time when the economy was down and hopes were lifted by Earhart’s bravery.

“Amelia” only falters in its staggered delivery. The actors are talented and the setting is beautiful, but the scenes are choppy and the script seems clipped, as if the writers completed their work only to have pieces of it taken out at random.

Even though the ending is widely known, “Amelia” leads gracefully to its sobering conclusion. A few slow moments arise along the way, but essentially it’s a pleasant ride that you’ll be glad you’ve taken.

Grade: B-

Take a group of tough-as-nails female roller derby players and a teenage misfit from rural Texas, and the result is a witty, fast-paced comedy. “Whip It” is the first film that Drew Barrymore has directed, and she has proved herself highly capable of that challenge. Call it a chick flick, a girl-power movie or a crossover indie film — it is a strikingly smart comedy that shouldn’t be ignored.

Ellen Page is Bliss Cavendar, a unique teen leading a boring life in Bodeen, Texas. Her temporarily blue hair, funky clothes and sardonic attitude separate her from the Southern belles of Bodeen. Save for her best friend Pash (Alia Shawkat), Bliss doesn’t identify with anyone in her small town and is desperate to break out. Her conservative mother (Marcia Gay Harden) pushes her to participate in a constant string of beauty pageants, hoping she will follow in her pageantry footsteps.

When Bliss discovers a roller derby flier at the local mall, she decides to check out the scene. What she finds is a fiercely competitive world compacted into a warehouse with crowds flowing out of the doors. Once she witnesses aggressive female players speeding around a concrete track in roller skates, she knows she has to be a part of it. With a simple lie to her parents, Bliss joins a roller derby team and begins to find her own sense of belonging.

As Bliss enjoys her newfound passion and the company of her spunky teammates, her friendship with Pash and family life begin to suffer. While Bliss is desperate to continue being a part of the roller derby team, she must decide where her priorities lie. Suddenly the film shifts focus from the intense world of roller derby to the complications of relationships and coming-of-age.

Page makes a solid return to the big screen with her effortlessly cool turn as Bliss. This role is similar to her starring role in “Juno,” but she adds an unexpected depth to the typical angst-ridden teen character. Gay Harden is outstanding as always in the role of Bliss’s conventional suburban mother. The mother-daughter scenes they share are extraordinarily believable and heartwarming.

The rough-and-tumble roller derby team is expertly cast, including Saturday Night Live’s Kristen Wiig and the talented Juliette Lewis. Barrymore plays a small role on the team that is not her best acting work, but she may have a future behind the camera. Robert Wilson, the forgotten Wilson brother, is a riot as the team’s coach. Jimmy Fallon makes a notable appearance as an obnoxious announcer.

One of the strongest features of “Whip It” is the soundtrack. With an eclectic mix of The Raveonettes, Dolly Parton, Peaches and more, it does exactly what a soundtrack should — it complements the film’s rising and falling events without distracting from it.

“Whip It” will, without a doubt, be underappreciated. It may appear to cater to young female audiences, but in truth it will be relatable and consistently entertaining to anyone.

Grade: A

(photo courtesy of Fox Searchlight Pictures)

Imagine a world where no one lies. Every thought is expressed, regardless of how offensive or questionable it may be. No more calling work and faking sick or telling your bad blind date you had a great time. That’s the world of “The Invention of Lying”, a surprisingly creative gem that plays with the notion of truthfulness.

Mark Bellison (Ricky Gervais) is, quite simply, a loser in life. He’s an overweight forty-something stuck in a boring, dead-end job with a dwindling bank account and no romantic life. He may be kind and funny, but in a world where everyone tells the truth, his chances of romance or career advancement are slim. But when he goes to the bank one day to empty his meager account, everything changes. He has an epiphany when he realizes he doesn’t always have to tell it like it is—he can lie!

Mark’s life turns around almost instantly, as his untruthful escapades land him a new home, truckloads of money and worldwide respect. The attractive and way-out-of-his-league Anna McDoogles (Jennifer Garner) begins to pay more attention to him as his financial status and fame constantly rise.

It looks like life has finally decided to be kind to Mark, and he gladly accepts the product of his fibbing. But as he is forced to construct more lies for the masses, he begins to realize there may be serious consequences.

“Lying” is Gervais’s directorial debut, as well as the first film he has simultaneously written and starred in. It is loaded with talent, including supporting roles by Tina Fey and Jeffrey Tambor and hilarious cameos that are best left as surprises. Gervais delivers his signature spot-on humor and self-effacing attitude while Garner is brilliant as the snooty, shallow love interest.

For the first 40 minutes or so, “Lying” seems to hit the same note tirelessly, but don’t lose faith. Just as the snarky honesty that was once humorous starts to get old, the film goes off in an unexpected direction that will get people talking. It begs the question, what would the world be like if there was nothing but the truth? The rest should be left for the viewer to decide, but Gervais is making a clever yet daring point here.

In the spirit of truth telling, this should be made clear—this is not the film for everyone. The underlying messages and at times coarse humor won’t resonate with all audiences and will outright offend others. However, “Lying” is worth a look.

Gervais’s blatantly British comedy style makes a difficult crossover into the American mainstream, but the concept of the film is undeniably smart. Give this fascinatingly truthful film a chance, and it may just change your personal distinction between fact and fiction.

Grade: B+

“Love Happens,” but successful romantic comedies rarely do. This film doesn’t join those ranks. Rather than delighting an undemanding audience and setting comforting but unrealistic expectations of love, it walks the line between melodrama and outright sappiness. In what could have been a marginal success, “Love Happens” strays from the cliché of boy-meets-girl with disappointing results.

Aaron Eckhart plays Burke Ryan, a successful motivational speaker whose “A-OK” books and DVDs have garnered him an adoring fan base. The irony here is that while doling out advice for the masses, he abandoned his own troublesome life. A dark secret threatens to shatter his fragile façade and ruin his career. Enter Eloise (Jennifer Aniston), a florist whose own life could use a little patching up. With her own form of baggage and a cynical outlook on romance, she is hesitant to give in to Burke’s kindness.

Aside from a few factors, the plot of “Love Happens” appears to be the simple formula for a romantic comedy. But rather than taking the usual route, this film veers off course into a subplot that has little to do with its lovebirds. While this somewhat strained emotional turn isn’t an all-out failure, it seems misplaced here.

Just when the sad sack characters seem to be turning their lives around and getting somewhere, another syrupy layer of forced drama is poured on. An overt but well-intentioned metaphor did little to save the movie’s contrived direction.

Martin Sheen, Dan Fogler and Judy Greer in supporting roles add a few moments of reprieve from the dismal game that Burke and Eloise are playing. Their somewhat laugh-worthy lines keep the movie from being utterly depressing.

“Love Happens” could have been a refreshing change from typical rom-coms, but instead it tore relentlessly at heartstrings with no resolve. Yet in true Hollywood form, the audience is rewarded with a happy ending. Sorry to spoil it.

Unless spending two hours trying to figure out where a chemistry-less romance is heading sounds fun, skip this hollow attempt at cinematic creativity.

Grade: C-

Few people have more grace than ballet dancers, who move in unexpected ways and yet make it look it easy. The 13-member dance troupe American Ballet Theater II is no exception. Last Friday, they wowed a small crowd at the Collins Center for the Arts. Among their varied dances were a piece from “Swan Lake,” an intriguing “Don Quixote” piece with elaborate costumes and a modern piece set to music by Beethoven.

The bright red seats of the CCA were hardly filled to capacity, and there were many gaps between patrons. The audience was a potpourri of the old and the young, students and citizens. Some moved to better seats in the front and center of the auditorium while others fidgeted with programs. But as the lights went down and the curtains were pulled back, a palpable silence blanketed the crowd.

A stream of dancers in flowing, silver-blue outfits moved across the stage in perfectly choreographed movements. Four couples flitted to center stage and then separated to stage left and right, only to meet again in harmony.

“I try to have a top-shelf dance company on every season,” Adele Adkins, associate director of the CCA, commented. “This young company is one of the best.”

There was no doubt after seeing them perform.

The ABT II troupe is made up of 13 highly trained and skilled dancers, ranging in age from 16 to 19. They have been handpicked from across the globe to travel and perform together. Just by taking a glance through the evening’s program, it was easy to see that the members of ABT II were incredibly experienced. They all participated in dance competitions worldwide and were educated at esteemed dance schools. But as if their biographies weren’t convincing enough, their performances were fantastic.

Of the several pieces they performed, the most breathtaking was an adaptation from “Swan Lake,” Act II. Two dancers stood in the middle of the stage, the girl in a breathtakingly stark white bodice and tutu and an intricate feathered headband. The expression on her face was of great sorrow, which she managed to hold throughout the entire performance.

ABT II’s performance was undoubtedly excellent, but it wasn’t exactly what some members of the audience had expected. The pieces were broken up, some with long pauses in between, two having 15-minute intermissions following them. “It was impressive,” said Aubray Landry, a second year elementary education student. “But I thought it would be more like a full show rather than segments. I thought the pauses were a little distracting.”

The third piece performed was “Don Quixote,” and involved clothing modeled after a Spanish matador and a traditional flamenco dancer. Rather than the typical white tutu, it was shockingly red with complex gold detailing. More surprising than the costumes were the dancers at the heart of this performance. Meaghan Hinkis and Alberto Velazquez made a great couple, and Hinkis pulled off so many pirouettes it was amazing she could keep her balance afterward. The crowd enjoyed this piece most of all, gasping as Velazquez hoisted Hinkis into the air or twirled around in perfect prima ballerina form.

Adkins was somewhat disappointed by the small crowd on Friday, but she is still hopeful for future dance events. “We have ticket breakdowns for each event,” she explained. “I try to program a very diverse season so that at least one event will appeal to our broad audience.”

She expected the ABT II performance to appeal to dance lovers, but perhaps not the general public. Appeasing and intriguing the UMaine community as a whole is no small feat, but she hopes that the CCA’s offerings will continue to draw diverse crowds.

The most surprising piece came at the end and was titled “A Taste of Sweet Velvet.” Aptly, the dancers were dressed in soft, velvety outfits with touches of brocade and deep purple. The piece was set to Symphony No. 9 in D Minor by Beethoven and was hardly the typical ballet piece.

“Velvet” had a whimsical and modern feel to it and involved almost all the members of the ABT II company. Unlike most of the pieces, this didn’t focus on two dancers, but on the group as a whole. They all danced together seamlessly, eliciting reverent applause and smiles from the crowd.

Much to the delight of dance students and enthusiasts from the community, two of the ABT II dancers held a master class at 1 p.m. at the Thomas School of Dance on Friday to impart some of their talent and experience.

While UMaine has been privy to some great acts at the CCA this year, ABT II’s performance is likely to remain one of the most surprising and enjoyable to date.

These days, it’s getting more difficult to find a movie that is both entertaining and thought-provoking. Among the many mindless movies in theaters today, it’s refreshing to find one that is clever and original. “Duplicity” succeeds as a smart spy caper that is as delightful as it is witty.

Ray Koval (Clive Owen) and Claire Stenwick (Julia Roberts) are corporate spies whose lives have intertwined over the years. After a series of steamy hook-ups, the two meet again to plan a con to end all cons. As they attempt to pull off the plan of the century, they are met with unexpected obstacles. The result is a whirlwind plot filled with witty repartee and surprising turns.

Owen and Roberts have a believable chemistry and play off of each other well. Owen’s overly confident swagger mixed with Roberts’ cool sophistication makes for a sexy and exciting on-screen pairing. They demand the audience’s attention as they swing in and out of each other’s lives. The dynamic between them is intriguingly complicated by the fact that they are predisposed to mistrust each other. Although they have a credible magnetism, more could have been done to show the affection between them. The relationship, while heated and interesting, is a bit hollow.

“Duplicity” somewhat echoes the spy flicks of the ’40s, with its snappy dialogue and the classic couple who carry the film. It keeps viewers on their toes with the somewhat choppy back-and-forth editing and time jumping. At times the film snails along when it could have kept up the pace. The pulse-pounding conclusion almost makes up for the rest of the film’s tendency to lag.

Paul Giamatti and Tom Wilkinson play two rival corporate hotshots and serve as great entertainment, particularly in the opening credits. Their performances add a level of finesse to the high stakes battle in the backdrop of Ray and Claire’s complicated courtship.

This film is reminiscent of “Ocean’s Eleven” and its sequels, with its cleverness and elaborate schemes. Unfortunately, it’s not quite as entertaining and leacks the support of other actors who made the “Ocean” series so great. “Duplicity” is missing a little something. Whether it’s the lazy script or the weak plot is hard to tell. Despite its downfalls, “Duplicity” remains a fun little romp and is worth seeing, if only for the cat-and-mouse antics and the dynamite between Owen and Roberts.

Grade: B