In a city left torn by war, when a series of murders awaken dormant memories, many fear the worst. Colm Meaney ("Hell On Wheels", "Layer Cake", "Con Air") and Malcolm Sinclair ("Casino Royale", "V for Vendetta") star in a film set between war and peace. Times are changing, car bombs are less common and terrorists find themselves out of work, but old habits die hard. And while most go quietly into the night, one man must find the few who won't comply. A greying assassin has st... (Full plot summary below)
In a city left torn by war, when a series of murders awaken dormant memories, many fear the worst. Colm Meaney ("Hell On Wheels", "Layer Cake", "Con Air") and Malcolm Sinclair ("Casino Royale", "V for Vendetta") star in a film set between war and peace. Times are changing, car bombs are less common and terrorists find themselves out of work, but old habits die hard. And while most go quietly into the night, one man must find the few who won't comply. A greying assassin has stopped walking his son to school. With motives buried deep in the Irish conflict, everyone is about to discover that the past matters to someone...
Review & Comments
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Chicago Sun-Times - 9/10 by Richard RoeperThe courtroom scenes are unapologetically over-the-top and sometimes excruciatingly exact in the details of the
murder, but you won’t soon forget Franco’s expertly nuanced performance. It’s as good as any work I’ve seen in a film in 2015, and True Story is one of the better movies to come along this year.
Tampa Bay Times - 8/10 by Steve PersallTrue Story may someday be used in both acting and journalism classes, the former for what students should do, and the latter for what they shouldn't.
ReelViews - 8/10 by James BerardinelliThose looking for a clear-cut chronology of how the murders happened are destined for disappointment. Flashbacks of the crime are short and ambiguous.
St. Louis Post-Dispatch - 8/10 by Joe WilliamsWhile the movie sometimes seems like faux Fincher, the symbiotic acting, artful imagery and punchline ending turn True Story into credible entertainment.
Empire - 8/10 by David HughesThe former comedy co-stars (Knocked Up) are superbly cast in this fascinating, fact-based story.
Movie Nation - 8/10 by Roger MooreThe reporter/convict dynamic doesn’t have enough layers to carry the film without some hint of mystery. The relationship between the two, chilling as it is, never raises this “Story” from generic to profound.
The Playlist - 8/10 by Katie WalshThe film is exceptionally well-made... There is nothing warm about the style, yet it allows for moments of simmering tension, broken by a few emotional explosions that shatter its well-composed surface.
Miami Herald - 8/10 by Rene RodriguezTrue Story marks the directorial debut of Rupert Goold, a respected British theater veteran who also co-wrote the script and knows how to engage the viewer with simple scenes of two people talking (with a few modifications, this could have easily been a play).
Christian Science Monitor - 7/10 by Peter RainerDirector Rupert Goold keeps things appropriately creepy, but True Story is no “Capote.” It’s all buildup with little payoff.
Variety - 7/10 by Peter DebrugeWhile never as gripping as a good piece of fiction, Goold’s treatment actually manages to improve on the book, even if that meant fabricating a few things along the way.
Austin Chronicle - 7/10 by Marjorie BaumgartenThe problem with True Story is that you wish there were more of it. The philosophical questions it encourages are like the tail that wags the dog. The truth becomes something of an obfuscation, and unlike films such as "Capote" and "Infamous," there’s not enough drama about the compulsive relationship between the writer and his felonious subject.
The A.V. Club - 7/10 by A.A. Dowd The meat of the movie is the behind-bars rendezvous between Finkel and Longo, whose interactions raise questions of journalistic responsibility and the banality of evil. But when a closing block of text announces that the two men still talk on a semi-regular basis — a surprise, given the finality of their last on-screen meeting — it’s hard to shake the feeling that a truly complex liaison has been reduced to an acting exercise for a couple of moonlighting funnymen.