Writer/Director Tony Gilroy’s followup to 2007′s law thriller, “Michael Clayton,” has all the style and flash of that picture, but none of its potency or efficacy. Maybe that’s the idea, but the film loses itself in its own labyrinth of uncertainty.

Clive Owen (“Children of Men”) and Julia Roberts (“Erin Brockovich”) star opposite each other as counter-intel spies, Ray Koval and Claire Stenwick. Their first meeting ends badly with Claire tricking Ray and stealing sensitive government codes from him. On their second meeting we’re meant to believe that they fall in love, and hash a plan to steal $40 million from their respective employers and runaway together. The problem with this, of course, is that they are enemy spies incapable of trusting, let alone loving other human beings. Their shared character flaws inevitably lead to double, triple, even quadruple-crossings, and a jumble of who said what, who had sex with whom, and who stole what from whom. And you thought your relationship had problems.

Gilroy crafts a smart, complex, occasionally thrilling web of mystery and deceit with his virtuoso script, and with the help of cinematographer Robert Elswit, styles the film with artistic and technical expertise. But, virtuoso, in this case, isn’t necessarily a good thing. The writing is too flashy and complex for it’s own good. The story isn’t particularly difficult to follow (though I can see how someone might easily get lost) it’s just cumbersome to wade through the unrelenting, rapid-fire plot twists.

The performances aren’t without their problems either. Clive Owen and Julia Roberts have virtually no chemistry whatsoever. Their relationship is rushed and completely unbelievable which lets down the rest of a film that relies heavily on at least a partially genuine dynamic between the two spies.

Owen is likable enough and delivers a generally believable performance, but Roberts has seen better days. Not only has her charm and intrigue all but evaporated, but she seems downright dour in this picture.

Tom Wilkinson (“Michael Clayton”) and Paul Giamatti (“Sideways”), however, manage to inject life into their scenes as rival soap tycoons. Early on we’re treated to a hilariously excessive slow motion showdown between the two corporate stiffs. “Watchmen” director Zack Snyder would do well to watch this film and take notes on how to effectively use slow motion.

Not without significant flaws, “Duplicity,” offers 125 minutes of popcorn fun that tries for the greatness of 1940′s “His Girl Friday,” but ends up looking more like 2005′s “Mr. And Mrs. Smith.”