True Story - Spiel um Macht

I've been reading a lot of reviews here talking about how this movie is basically a build up with no pay off. While I agree with the build up part, I might have to disagree with the latter. This is a true story about a disgraced top journalist who then will befriend an accused murderer. The journalist Mike, played by Jonah hill became intrigued when he finds out that Longo, played by James Franco has been using his name for an alias. The two meet up and Mike sensing a big story for his come back from disgrace, befriended Longo with the incentive of helping him with his writing. So then they would correspondence with each other but without ever establishing that Longo is guilty. Mike even think that he's innocent.

Things then took a turn when Longo pleads guilty to two counts of murders out of four counts, with the intention of manipulating the court. From this point on, this to me was the pay off. The moment Longo testifies about what happened on the night of the murders, we the viewers as well as our main character Mike, realised that we have been manipulated all along by Longo. All this time Mike has been teaching him about storytelling and Longo used that to his advantage. When Mike realised what's truly happening, Longo turned around to face mike. With a little shrug, a wink and a slight smile, he realized he was fooled, its like someone douse him with cold water, the realization is sobering. This was a very good scene, and to me, a pay off doesn't always have to be grand or climactic, a little moment like this could have just as much of a punch as a big moment.

I especially enjoyed the last 30 minutes of this movie. This movie is worth to watch if you enjoyed crime thriller.

I had been looking forward to True Story since I first saw the trailer in December. And then I read reviews tonight on it and was pretty worried. I actually almost didn't go to the theater to see it. I almost considered waiting for the DVD (or Digital HD rather, Ha) release. I am glad I didn't.

I am not going to recap the entire summary of the film, as if you are reading this, chances are you already know it, and if you don't, the less you know the better. I just finished researching the true story of the film, and it appears this film is quite close to the truth. (Unlike the characters in the film)

This is a movie about deception involving characters that fabricate the truth to incredible lengths and spin endless webs of lies. One character to a lesser extent to the other, but I found it interesting how this film portrayed the similarities between these two men. The story is brilliantly woven, and extreme attention to detail is paid. The cinematography is beautiful, the acting is solid, this is just all around an exceptionally well made film. It's tragic, yet very thought provoking.

The main two complaints I heard in critical reviews were that the film lacked suspense, and that it was a whole lot of buildup with no payoff. The no payoff criticism concerned me the most, as I can't stand movies like that, and that criticism seemed to be the biggest people were making.

Realize going in, this is a psychological drama/thriller. I personally was riveted and in constant psychological suspense, but there isn't any real physical suspense throughout the film. The suspense comes from a psychological place, falling victim to the constant mind games, and not knowing what the truth really is.

And as for the biggest criticism, that there wasn't any payoff, I couldn't disagree more. I'd like to ask these critics to their face - how much more payoff are you looking for? Given the details of the true events, there isn't any more payoff that could have been provided, in fact, I felt the payoff of this film to be big. It was a psychologically riveting experience that provided a lot to think about long after the end credits rolled.

A true story is not necessarily an interesting one, a fact proved by this mess of a movie. The easy pickings for criticism begin with Jonah Hill – a very talented and enjoyable actor who is out of his depth in this leading role. After turning in excellent (and, to some, surprising) dramatic performances in Oscar-nominated supporting roles in Moneyball and the Wolf of Wall St., Hill, or someone in his camp, decided it was time to take a crack at a dramatic leading man role. I'm not saying he can't or won't someday be successful in that effort, but this wasn't time. Nor was it completely his fault.

The script and the direction lack clarity and vision. And, as the two greatest opponents in any communications endeavor are confusion and boredom, True Story pulls of the cardinal double no-no. First time feature film Director Rupert Goold had a potentially interesting story and some capable talent in his hands but simply didn't execute on it. The montages that fail to advance the story in an interesting manner are just one example maddening displays of wasted opportunity. The staging is often flat. The edits, at times, seem to happen because they can rather than for any good reason. The strange thing to me is, watching this film in a packed free preview audience, there were more than a few people that seemed to think it was at least "okay". I could be snarky and say they got what they paid for it, but I'll take the high road. My opinion, like all, should be taken with a grain of salt.

Hill plays Michael Finkel, a former New York Times reporter who got fired for the way he embellished a story and conflated sources to tell, what he felt, was a greater truth. I never believed Hill as a writer, though he has shown great intelligence in even some of his silliest characters previously. James Franco plays Christian Longo, who ranks among the lower level of scum of the earth for killing his wife and three kids in brutal and remorseless fashion. Felicity Jones is a fine actress whose character, Jill, seems to have some interesting things to say, but rarely gets a chance to show them. Her relationship with Hill is laughably bad. And as much as I wanted to cheer for her in the dramatic take it to Christian moment when she decides to visit him in prison (and she's there because it makes good drama…?), the movie was long since gone. James Franco flashes occasionally as Longo, but I still get the feeling he was bored or partially committed too often, unwilling to throw his full weight behind what he's doing. See him in Spring Breakers to get the depth of depravity played well if you want to see this type of thing.

'True Story' explores a scary real-life incident & tries to make an awkward friendship tale out of it. Well, almost. And sadly, not all of it works, but with some powerful moments & Strong Performances going its way, the film scores on some levels.

'True Story' Synopsis: When disgraced New York Times reporter Michael Finkel (Jonah Hill) meets accused killer Christian Longo (James Franco) - who has taken on Finkel's identity - his investigation morphs into a game of cat-and-mouse.

'True Story' begins grippingly & you're invested in the journey of these two disgraced men, one far more than the other of course. But, the pace slackens as the narrative proceeds. The second-hour lacks the punch, although the goings-on become quite intense in its penultimate moments. Nonetheless, the Writing needed some stronger stuff.

David Kajganich & Rupert Goold's Screenplay, which is Based on the memoir of the same name by Michael Finkel, is greatly Written in parts, but doesn't come across as solid overall. As mentioned earlier, the second-hour doesn't have the moments it should have. Rupert Goold's Direction is controlled & well-done. Cinematography is atmospheric. Editing is finely done.

Performance-Wise: Jonah Hill is in very good form, yet again! Hill, now a versatile actor known by all, sinks his teeth into the part & enacts the disgraced man, with great maturity. James Franco is top-notch. His performance is so good, that you actually want to believe him & want him free of the heinous crime he's accused of. Felicity Jones, besides looking stunning, takes a terrific turn, as the morally strong minded woman.

On the whole, 'True Story' isn't very engaging always, but the performances are.

Greetings again from the darkness. "Sometimes the truth isn't believable. But that doesn't mean it's not true". These words are spoken by Christian Longo, the man accused of brutally murdering his wife and 3 kids in 2001. The line between truth and lies is at the core of this real life story based on journalist Michael Finkel's memoir and recollections of his conversations with Longo.

The New York Times investigative reporter Michael Finkel (Jonah Hill) is introduced to us as he is researching the story which ultimately leads to his dismissal, after it's discovered he played fast and loose with details in order to present a more impactful story. Soon he receives an odd phone call from an Oregon writer (Ethan Suplee) who informs Finkel that his name is being used by Longo (James Franco), the suspected murderer who was recently captured in Mexico. As a disgraced journalist, Finkel seizes the opportunity to connect with Longo, and soon enough the two morally-compromised men are locked in psychological warfare, where we as viewers aren't sure just who is using who in this oddball "friendship".

Hill and Franco are best known for their raunchy and raucous comedies, and both deliver much "quieter" performances than what we have come to expect from them. While it's a bit of stretch to buy Jonah Hill as a renowned writer, Franco is absolutely chilling as a manipulative psychopath. Franco is so good in the role that he overpowers Hill, which undermines what was supposed to be an intricate game of cat and mouse.

Franco is a frightening figure on the courtroom witness stand as he tells his version of that fateful night, and he is equally unnerving to watch in general conversation with Finkel. However, the single best scene in the film comes when Felicity Jones unleashes the wrath of truth on Franco's Longo. Ms. Jones is otherwise underutilized for most of the film, as her relationship with Finkel is never really explored.

Rather than provide any substantive background on what makes either Finkel or Longo tick, we are instead left to make our own assumptions based on the framed magazine covers and the spurts of flashbacks. And thus the film's biggest flaw is cheating us out of the backstory that might help explain the otherwise fascinating conversations/showdowns between these two flawed gents … one significantly more flawed than the other.

It's impossible not to compare this to Truman Capote's "In Cold Blood" and the subsequent films based on his writing experience: Capote (2005), and Infamous (2006). Stretching and bending the truth are common themes, as are intriguing and disturbing insights from the writers and the accused.

There are times True Story comes off as little more than a made for TV movie, but the best moments more than make up for it, and Franco's portrayal will stick with you long after Finkel finally understands who and what he is dealing with. It's also a reminder that there are people who "want the truth so badly" they "will lie to get it". Try saying that with a wink.