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Quando il giornalista del New York Times Michael Finkel incontra il presunto assassino Christian Longo, che gli ha rubato l'identità, la sua indagine si tramuta nel gioco del gatto e del top... Leggi tuttoQuando il giornalista del New York Times Michael Finkel incontra il presunto assassino Christian Longo, che gli ha rubato l'identità, la sua indagine si tramuta nel gioco del gatto e del topo.Quando il giornalista del New York Times Michael Finkel incontra il presunto assassino Christian Longo, che gli ha rubato l'identità, la sua indagine si tramuta nel gioco del gatto e del topo.
- Premi
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Trama
Lo sapevi?
- QuizThe scene where Jonah Hill punches the bathroom stall was improvised. He ended up hurting his hand, and had to go the the hospital afterward, but it ended up just being a slight bruised bone.
- BlooperWhen Mike Finkel receives a call from Pat Frato to ask him about the Christian Longo story and makes him aware of Longo using his name when apprehended, Finkel googles his own name and the search results shown include one from gawker.com saying "· NYT journalist Michael Finkel, who was fired last year for fabricating a story, found out while he was contemplating suicide that Christian Longo (who was wanted in Mexico for murdering his family) was using his name as an alias because he liked Finkel's writing". This gawker.com post goes on to say "...HarperCollins is paying $300,000 for Finkel's story, including exclusive interviews with Longo"
- Citazioni
Christian Longo: Sometimes the truth isn't believable. But that doesn't mean that it's not true.
- ConnessioniFeatured in WatchMojo: Top 10 James Franco Performances (2015)
- Colonne sonoreSe La Mia Morte Brami
Written by Carlo Gesualdo
Performed by Delitiae Musicae
Conducted by Marco Longhini
Courtesy of Naxos
By arrangement with Source/Q
Recensione in evidenza
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.
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.
- ferguson-6
- 18 apr 2015
- Permalink
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Dettagli
- Data di uscita
- Paese di origine
- Siti ufficiali
- Lingue
- Celebre anche come
- Câu Chuyện Có Thật
- Luoghi delle riprese
- Garnerville, New York, Stati Uniti(Sparky's Diner)
- Aziende produttrici
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Botteghino
- Lordo Stati Uniti e Canada
- 4.719.695 USD
- Fine settimana di apertura Stati Uniti e Canada
- 1.950.214 USD
- 19 apr 2015
- Lordo in tutto il mondo
- 5.261.595 USD
- Tempo di esecuzione1 ora 39 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.85 : 1
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