

ゼイ・クローン・タイローン/俺たちクローン
あらすじ
一連の不気味な出来事がきっかけで、極悪非道な政府の陰謀に巻き込まれる意外な3人組(ボイエガ、フォックス、パリス)が繰り広げる荒唐無稽なミステリー。
作品考察・見どころ
興行成績
製作費: $47,000,000 (71億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。


一連の不気味な出来事がきっかけで、極悪非道な政府の陰謀に巻き込まれる意外な3人組(ボイエガ、フォックス、パリス)が繰り広げる荒唐無稽なミステリー。
製作費: $47,000,000 (71億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Juel Taylor
脚本: Juel Taylor / Tony Rettenmaier
音楽: Pierre Charles
制作: Stephen "Dr" Love / Juel Taylor / Jack L. Murray
撮影監督: Ken Seng
制作会社: MACRO / Made With Love Media
When a drug dealer (John Boyega) in a predominantly African-American inner city neighborhood dies in a revenge killing, his friends and colleagues are stunned to find him alive and healthy the following day. That’s particularly true for two of his regular associates, a pimp (Jamie Foxx) and one of his ladies of the evening (Teyonah Parris). Together, the unlikely trio proceeds to investigate what’s going on, only to soon find themselves in the midst of a fiendish social experiment involving cloning, mind control and behavior modification targeting their entire neighborhood, a clandestine initiative operated by an evil organization headed by a bigoted mastermind (Kiefer Sutherland). As intriguing as that narrative may sound, however, the picture’s execution leaves much to be desired. For starters, the film is trying way too hard to imitate the works of writer-director Jordan Peele, with more than a few thinly veiled elements that echo “Get Out” (2017) and “Us” (2019). Then there are a number of serious technical issues, most notably the picture’s truly horrendous sound quality (generally throughout, but especially in the first 30 often-undecipherable minutes) and its needlessly dark cinematography (there’s a big difference between atmospheric and incomprehensible). To top that off, many of this release’s attempts at humor fall flat and/or lazily rely on shamelessly milking well-worn stereotypes, often verging on insulting. To its credit, “They Cloned Tyrone” does offer some valuable (if a bit overly obvious) pieces of social commentary, making the second half more watchable than the first. It also features a fine performance by Parris, who often steals scenes and leaves her co-stars in the dust. Nevertheless, writer-director Juel Taylor’s second big screen feature fails on so many fronts that the shortcomings undermine what could have been a hilarious sci-fi thriller if left in more skilled hands (like Jordan Peele, perhaps?). Take a pass on this one.