Dead Ringers review: Rachel Weisz doubles down in a Kubrickian rework of Cronenberg's shocker
The spine of the season is built around Beverly’s quest to have it all: a baby, true love, and a revolutionary birthing clinic in the sisters’ name. The latter institution is funded by Rebecca and Susan Parker , a super-wealthy couple interested in pushing the limits of science and bespoke reproductive services. For profit, naturally. Ehle is wicked fun, gazing through giant hexagonal eyeglasses, a reptilian alpha lesbian who salts her barbs with copious f-bombs.
As for Beverly’s love life, that comes in the form of Genevieve , the beautiful star of a TV show who comes to the Mantles to have her fallopian status checked. The deeper in love Beverly falls with a wary Genevieve, the more alarmed and out of control Elliot grows. “It’s not fair to keep her all to yourself,” complains Elliot, chowing down on a sandwich. “You haven’t had her unless I’ve had her.” This symbiotic bond between the twins is both their superpower and their kryptonite.
and others, the visual compositions abound in mirrors, reflections, and symmetrical framing of bodies and architecture. The dominant and obsessive palette is red. Cinematographer Jody Lee Lipes includes washes and panels of red in a high proportion of shots, from pulsing hot lights in a nightclub to rectangular scarlet light panels in the sisters’ kitchen. Once you notice red-and-mirror vocabulary, it’s everywhere.
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