Got to look out for those charming serial killers; they’re the hardest ones to loathe.
After being publicly shamed and fired for fibbing about a story he did on child-slavery in Africa, ex-New York Times journalist Michael Finkel (Jonah Hill) is left jobless, depressed and desperate to find any sort of work that may possibly come his way. Eventually though, work does eventually find its way to him – however, just not in the ways he had intended. After being on the run from the feds for the alleged murder of his wife and two kids, Christian Longo (James Franco) fled to Mexico, where he went under a false identity; who also just so happen to be Mike Finkel. Though Longo didn’t get away with this, the real Mike Finkel still finds plenty of interest in this and, seeing a book-deal in the horizon somewhere, decides to jump on the opportunity right away to interview Longo, get to know him better, and eventually, figure out the truth about just what the hell happened and whether or not Longo even committed the crime to begin with. Eventually though, Mike’s obsession with Longo’s life begins to grow almost too serious, which is when Mike’s fiancee (Felicity Jones) sees that it’s time to step in and check out what this Christian Longo guy is all about, if anything at all.
What we have on our hands here, folks, is the classic case where the real, true-to-life story the movie’s discussing and adapting, is way more interesting than the movie itself ever turns out to be. That’s not to say that there aren’t bits and pieces of True Story that don’t sizzle, pop and crackle, as reading this story straight from its Wikipedia page would, but there’s something to say about a movie where it’s constantly made clear that you’ll probably want to read the actual details on what really happened, rather than taking this movie’s word for it.
Because hey, Hollywood lies and they can’t always be trusted.
However, in True Story‘s case, there seems to be too many creative-licenses taken at times that makes this feel like a jumbled-up mess, when it sure as hell didn’t need to be. For instance, the inclusion of Felicity Jones’ character never makes sense here and, on more than a few occasions, takes away from what could have been a thoughtful, intriguing piece about the mental cat-and-mouse games we sometimes play on those who we feel are equal enough to us to play back. Don’t get me wrong, I love me some Felicity Jones and considering that she’s red hot right after her Oscar-nominated performance in the Theory of Everything, I’m especially happy to see her be able to take center-stage against the likes of Franco and Hill, but when her scenes with them are supposed to bring some heartfelt emotions, they can’t help but ring false.
And most of this can be attributed to the fact that this is director Rupert Goold’s first time behind the camera, and it damn well shows. According to what I’ve read (because people do that, you know?), Goold comes from a long history of theater and directing plays, which makes total sense; some of the best parts of this film are when it’s simply just two or more people, sitting in a room, talking to one another, and seeing what shoe drops next. Most of these scenes include both Hill and Franco talking to one another, but it works so well because not only are these two actors solid here, but their characters have genuine tension together that you don’t know whether they’re going to take out weapons and start brawling, or rip-off each other’s clothes, shut the lights off, and start making some sweet, hot and sexy love.
Either turnout seems interesting and more than likely, especially considering that these two seem so incredibly comfortable with one another, that even when they aren’t supposed to be laugh-out-loud stoners making us laugh, they’re die hard thespians that try to one-up the other, in any way that they can. In some ways, it’s less of a mind game between these two characters, and more of a mind game between these two actors, who definitely make the movie all the better by showing up, ready to work.
Goes to show you that it’s not such a problem to change things up every once and awhile and get downright serious with your work.
But Franco and Hill, as hard as they try, aren’t fully capable of keeping this movie above the water for long enough to where the problems within aren’t noticeable. Like I mentioned before, Goold comes from a theater background, and because of this, when he gets right down to making this story about something, rather than just about two guys talking to one another and constantly lying about what may have, or may not have happened on some fateful date in their lives, he stumbles a whole heck of a lot. There’s a point here to be made about the state of modern-day journalism, and how some people are so willing to stay successful and famous for as long as they can, that no matter what, they’ll cover whatever comes their way, but even that feels oddly-placed in a movie that doesn’t know who it wants to judge, or what it wants to say about these people.
Judging from this movie, Mike Finkel isn’t the best journalist who lied about his story to get it past the editing process and hopefully make him a huge star. That didn’t happen, and because of that, we’re supposed to feel sorry for him, even if the movie makes it seem clear that what he does after losing his job, is all the more humiliating. Then, at the same time, it still can’t help but to judge him for jumping on something as odd as Longo’s case, which is where the movie got odd. Is it against Finkel as a person? As a journalist? Or, as somebody who wanted to hold onto any sort of fame he could grasp a hold of?
Whatever the point to it all may have been, it’s hard to put a finger on. Even if Hill and Franco, yes, do seem to be trying here. And, most importantly, don’t seem all that stoned.
Okay, maybe a little.
Consensus: True Story gets most of its mileage out of the solid performances from Hill and Franco, but everything else about is messy, ill-formed and almost too over-dramatic to be considered “the truth”, even if the movie loves spouting that fact many times throughout.
6 / 10