Imitation is the sincerest form of flattery. In 1994, Quentin Tarantino released “Pulp Fiction” to amass critical and popular acclaim. It became an instant cult favorite, and has perhaps become one of the most quoted movies in the last 15 years. The film is chock full of pop culture references, non-linear plotting and violent irony that was often imitated, but rarely matched. Paul McGuigan is a student of Tarantino. Everything in “Lucky Number Slevin” from its title sequence to the credit roll reeks of a guy who watched “Pulp Fiction” or “Reservoir Dogs” too many times. Camera angles, dialogue and character names are all heavily borrowed. The director does not attempt to conceal his influences, and proudly wears the allegiance on his sleeve. A case of mistaken identity drags Slevin (Josh Hartnett) in between two rival mob bosses who have been feuding for 20 years. Slevin is staying at his friend’s apartment when some inept thugs drag him to their boss who is appropriately named “The Boss” (Morgan Freeman). They are looking for his friend, Nick Fisher, but Slevin was in the wrong place at the wrong time. It turns out his long-time pal, Nick, was a degenerate gambler who owed The Boss and his bookies $96,000. He kindly informs Slevin that his debts can be relieved by placing a hit on the son of his arch nemesis “The Rabbi” (Ben Kingsley). The Boss wants an outsider to do the deed, and Slevin seems to be the perfect candidate. He does not want the crime to be traced back to him, which would ostensibly start a war. In a completely nonchalant manner, Slevin agrees to do the hit. He does not owe anyone money, but explains to his new neighbor Lindsey (Lucy Liu) there is no other way out because the mob is watching every move he makes. The only problem here is that all this has been done before, and done better. Where Tarantino’s dialogue sizzles, McGuigan’s merely crackles. Where Tarantino relies on slick pacing and sharp writing, McGuigan resorts to plot twists and superfluous deception. Tarantino’s work is the product of an ingenious maven, combining a flawless combination of style and substance rarely seen in Hollywood today. McGuigan is a loyal disciple, but unfortunately, he never shakes his devotion enough to make his own mark. The missing link for McGuigan is the absence of irony in “Lucky Number Slevin.” The film holds no thematic weight or moral consequence, and if anything, the screenplay needs to take more lessons from “Pulp Fiction” and other Tarantino fanfare. In for a penny, in for a pound. If you are going to emulate someone, go all the way. The good news is despite his undying Tarantino fidelity, he is still a very capable and adept director. “Lucky Number Slevin” is an accessible film that can be enjoyed at face value. Yes, it is a blatant imitation and rip-off, but a decent one. Liu and Hartnett’s uncanny chemistry carries the film on its back through all the dark seriousness that unnecessarily cloaks the story. The script is fast-paced and fun at times — just make sure you check your brain at the door.