Save this article to read it later.
Find this story in your accountsSaved for Latersection.
Its an obvious setup for a Jekyll and Hyde scenario, but director Bill Oliver plays it straight.
As might be expected, that something unforeseen turns out to be a girl.
Jonathan begins tracking his brothers movements and becomes intrigued by this mysterious new woman in his life.
Anything that upsets this equilibrium threatens to make one sibling dominant over the other.
To put it more simply, one brother can mentally kill the other, sort of.
He can also, of course, physically kill them both.
That sets up a potentially interesting dilemma, but unfortunately, the films structure works against our emotional involvement.
The problem is that we see the story almost entirely from Jonathans perspective.
The story makes no sense if we dont fully believe that Jonathan and Jons differences are genuinely insurmountable.
This is where Elgort proves to be fairly invaluable.
He shows real range here, and deserves credit for what emotional resonance the film does have.
