S Club's Seeing Double will be best remembered as the filmthat marked the end of the band. Their demise wasn't caused by thisfilm being particularly bad, but rather their big-screen outing was thecontractual glue that kept the group together a little longer than theyprobably wished. Incorporating the standard pop-movie themes--acontrol-freak manager, overzealous fans, and the stresses of living onthe road--the film also makes the customary tongue-in-cheek referencesto the fragility of manufactured pop groups. Centered around the SClubbers' shock discovery that clones of the band are touring America,the film tracks the six as they attempt to capture the impostors andtheir evil creator, Victor Clonemaster. Peppered with some of theirgreatest hits--including a musical-style version of 'Don't Stop Movin''performed in a prison--their back catalog is surprisingly underused.
As the group admits in the accompanying interviews, this film is nomasterpiece. There are no glitzy special effects, and the clones of thesix are created by clever camera angles rather than anything morefancy. Like in Spiceworld, all sense of reality and locationgets lost during the film. Despite some establishing shots, it'sdifficult to work out where the action of the film is supposed to betaking place: is it Los Angeles, Barcelona, or a set at Elstree? Butthe need to suspend all sense of reality adds to the fun of the film,and Seeing Double turns out to be good, wholesome entertainment that mixes adventure, fun, and irony
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