Glad you got to see "Enemy." I appreciate the shocking and indigestible final shot, and I love the premise of a divided personality stumbling upon the public life of another personality within the same psyche, and setting out to investigate. I am from Toronto, and am a keen spectator of Toronto architectural history; one of the things which resonates for me in the context of Toronto's current growth spurt is the vast expansion in the southcore. There is a kind of flipside paranoia to a period of growth: it's great, but who are these people living there in the new buildings? Might one of them turn out to be, well, me? Having said that, the initial JGYLL character lives in a relatively dormant area of 1950s growth (St. James Town), and so he is very much a down and out academic, and not participating in the prosperity paraded in the great closing tracking shot under the credits. I referred a moment ago to the big tarantula as the closing shot, but the credit shot complicates this. The opening sequence in the backdoor club... a mystery to me. The implied real-world sequence of the two final sequences (the crash and the apartment encounter in Mississauga), mystery, too. I get a strong "Eyes Wide Shut" vibe off the film, i.e., the deciphering figure traveling through an erotically charged urban environment filtered through his personality. APES2... I have to admit I was a little restless and bored. I admired it more than I enjoyed it, and I feel there was a bit of a missed opportunity around the assassination plot. It is generally disappointing for a film to have to turn on a clumsy mistake by a villain. Austin Powers has mocked this point, and yet APES2 sort of treads this same ground by leaving Caesar's living and fallen body unexamined. Perhaps it could have been salvaged on account of the "mystery of firearms" among the apes, but this was not tested.