Each building up their dramatic profiles as of late, Jonah Hill and James Franco take the next obvious step: teaming up for about as dark a story as Hollywood could make — at least on the outset. True Story follows Michael Finkel (Hill), a New York Times author with ten cover stories to his name, only to get fired after falsifying one of his articles. With his name tarnished, he moves out of the city to live off of his wife’s (Felicity Jones) income at her university job in a cold, desolate Montana. After a string of failed attempts to pitch articles to various publications, one day he receives a strange phone call alerting him that his identity was stolen by a murderer on the run.
The man in question is Christian Longo (James Franco), who was picked up in Mexico after being on the FBI’s most-wanted list for the gruesome murder of his wife and three children. Finkel’s interest sparks when he learns about the unforeseen connection and only grows deeper when he gains knowledge of Longo’s extensive admiration for his writing. Although Longo is locked up and awaiting for trial, the two begin a peculiar, unlikely relationship in which Longo will tell his story to Finkel for a forthcoming book if the author helps develop the writing skills of the alleged murder.
Based on Finkel’s own memoir, David Kajganich‘s script can be painfully blunt in the early formation of their budding partnership. Entire conversations seem to boil down to over-arching platitudes in which Franco and Hill attempt (and initially fail) to convincingly convey, spouting strained phrases such as “The truth always matters” and “I don’t presume anything anymore.” However, as things progress and their relationship becomes more complex, the psychological warfare that wages when it comes to the veracity of what’s being exchanged makes for an entertaining game of cat and mouse.
As the narrative center, Hill does a respectable job in the role, but as a child killer, Franco must be credited for his performance — even if it does takes some time to readjust your expectations seeing these two actors together without a single joke to be had. While Frano could have easily swayed on one side or the other on the criminal psychosis spectrum, he continually keeps us guessing what his true motives and alleged sins are. Underdeveloped and altogether ignored for much of the film, praise eventually goes to Felicity Jones, who fiercely commands her stand-out scene in which she finally confronts Longo.
Directed by first-timer Rupert Goold, there’s a crisp polish (thanks to The Grey and Warrior cinematographer Masanobu Takayanagi) and satisfying pace to the proceedings, even if he doesn’t entirely nail the tone. Dealing with remarkably dark material at times, for the most part, it’s all a generally agreeable affair with little impact when all is said and done. There’s also the mishandled sun-lit flashbacks to Longo’s family, which are awkwardly placed throughout the film. With a lack of urgency and subpar script, True Story might fumble in its first half, but by the finale, it’s an entertaining-enough depiction of obsession and deception.
True Story premiered at Sundance Film Festival and will be released on April 10th.
