When a film features the central character appearing twice as different versions of themselves, it's usually cause for alarm bells to ring. The French King of Comedy Jerry Lewis did it a number of times early on in his career and he did such a swell job, there's really been no reason for anyone else to do it ever again.

Although only a fledgling director, Richard Ayoade's follow up to the sublime Submarine features Jesse Eisenberg playing two identical-looking characters. As you would expect in Ayoade's hands, his take on the double trouble angle is anything but straightforward.

Seven long years. That's the period of time that Simon James (Eisenberg) has been working in the same mundane job. Not that any of his colleagues would know that; try as he might to fit in, he goes about his business pretty much unnoticed for the most part.

One of the things that keeps him going is a girl at work he's smitten with. He knows Hannah (Mia Wasikowska) to chat with but doesn't know her anywhere near as well as he'd like. He takes his crush on her home with him too, as she happens to live in the building opposite his. With a telescope, he quietly keeps an eye on her from a distance.

Every day feels pretty much the same as the day before until a new member of staff turns up at work. Although he doesn't dress that differently from other employees – in fact he wears exactly the same clothes as Simon – he makes a big impression with the staff: he's remarkably confident and has a winning way of talking to people.

Although Simon does notice how at ease the new guy appears to be, something else about him gets his fullest attention: he is Simon's double. Not just a passing resemblance mind, but someone who could easily be his identical twin. Even his name is spookily similar - James Simon (who is also played by Eisenberg).

At first, this is something they both can have a bit of fun with. But as their relationship progresses and the dominant gene that James clearly has surfaces more and more, James is fully prepared to use their likeness to get ahead, one way or another - and if it's at the expense of Simon, then so be it.

With Submarine, Ayoade clearly made a statement of intent. He wasn't keen on simply churning out identikit rom-coms or the like; he was eager on signing up to an indie vibe, which he has taken to the next level with this film.

Stylistically, The Double is the illegitimate offspring of Terry Gilliam's Brazil and any early Woody Allen film. He's certainly helped in the later with Eisenberg, who clearly embodies early Allen performances with his ability to play the insecure intellectual.

Ayoade isn't a strong believer in primary colours; much like his previous film, it's all about the muted tones. His dystopian vision could easily be an extension of the one that exists in Brazil; everything has its own compartment, most notably the workers, who like to keep their heads down and most certainly not rock the boat at any cost.

Although visually a little on the dull side, it's a look that is completely apt and suitable in every way to the material, which is based on the novella by Fyodor Dostoyevsky.

Again, much like many Woody Allen titles, the film explores themes of voyeurism and identity. Eisenberg does well in creating two separate identities and imbuing them with different personalities: although his two characters look the same in every single way, he still manages to do enough that audiences can tell them apart.

Where the film falls a little flat is in the script department. It just doesn't quite live up to the quirkiness achieved in other areas of the film, making it very much the weak link.

It was certainly a bold and brave decision to pick this as his second directing gig, but Ayoade shows very little fear. This is an extremely confident effort, albeit a tad cocky.

Much like many of the shows he's appeared in, the style he's developing appears to be of an acquired taste. It may leave some scratching their heads somewhat, while others will simply consider it a work of genius. The reality is, it probably sits somewhere awkwardly in-between.

And although the film is slightly patchy it solidifies Ayoade's impressive directing skills, clearly marking him out as a creative type to always keep an eye on.