True Story (film) - Wikipedia. True Story is a 2. American mysterythriller film directed by Rupert Goold and written by Goold and David Kajganich. Based on the memoir of the same name by Michael Finkel, the film stars Jonah Hill, James Franco and Felicity Jones. The cast also includes Gretchen Mol, Betty Gilpin, and John Sharian. Franco plays Christian Longo, a man on the FBI's most wanted list accused of murdering his wife and three children in Oregon.

He hid in Mexico using the identity of Michael Finkel, a journalist played by Hill. The film explores the relationship that develops between the two men after the journalist Finkel begins to meet with Longo in prison. Christian Longo (James Franco), an Oregon man whose wife and three children have been discovered murdered, is arrested by police in Mexico, where he had been identifying himself as a reporter for the New York Times named Michael Finkel. In New York City, Michael Finkel (Jonah Hill) is an ambitious and successful reporter. He is confronted by his editors about a story he has written and has featured on the cover of the New York Times Magazine, who accuse him of using a composite character as the focus of his story, a violation of basic reporting principles.

Finkel briefly attempts to defend his actions, but he is unsuccessful and is fired. He returns home to his wife (Felicity Jones), and struggles to find work as a journalist due to his public firing from the Times.

Finkel is contacted by a reporter for The Oregonian, who is seeking his opinion on Christian Longo's theft of his identity. Finkel, who was not aware of Longo's case at all, is intrigued, and arranges to meet with Longo in prison.

During their first conversation, Longo claims that he has followed Finkel for his entire career and always admired his writing. Longo agrees to tell Finkel his side of the crimes he is accused of, in exchange for writing lessons and Finkel's promise not to share their conversations until after the conclusion of the murder trial. Finkel becomes increasingly absorbed with Longo, who is evasive about his guilt. Convinced that the story will be redemptive, Finkel visits Longo in prison and corresponds with him for several months. Longo sends Finkel numerous letters as well as an eighty- page notebook entitled . Finkel begins to recognize similarities between Longo and himself, their handwriting and drawing, and Longo's letters and Finkel's personal journals.

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As the trial approaches, Finkel grows increasingly doubtful that Longo is guilty of the murders, and Longo informs Finkel he intends changing his plea to not guilty. In court, Longo pleads not guilty to two of the murders, but pleads guilty to the murder of his wife and one of his daughters. Finkel confronts Longo, who claims that he can not share everything he knows because he has to protect certain individuals, whom he refuses to name.

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Greg Ganley (Robert John Burke), the detective who tracked Longo down and arrested him, approaches Finkel, and claims that Longo is an extremely dangerous and manipulative man. He tries to convince Finkel to turn over as evidence all of his correspondence with Longo. Finkel refuses and Ganley does not press him for an explanation. At the trial, Longo takes the stand and describes his version of the events in detail. He claims that, after an argument with his wife about their financial situation, he had come home to discover two of his children missing, one of his daughters unconscious, and his wife sobbing, saying that she put the children .

Longo says that he strangled his wife to death in a blind rage. He says he thought his other daughter was dead at first, but then realized that she was still breathing and strangled her as well because she was all but dead. Finkel's wife, Jill, watches Longo's testimony. As the jury deliberates, Jill visits Longo in jail and tells him that he is a narcissistic murderer who will never escape who he is. Longo is found guilty of all four charges and sentenced to death.

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After he is sentenced, he winks at Finkel, who to his shock and rage, realizes that Longo has been lying throughout their conversations, using him in order to make his testimony more believable. A short time later, Finkel meets Longo on death row. Longo tries to convince Finkel that he discovered his wife strangling their daughter and then blacked out, so that he has no memory of the murders. Finkel angrily tells Longo that he will not believe any more of his lies and will warn the judge when Longo appeals his sentence of Longo's manipulative nature.

Longo retorts by pointing out the success Finkel has had with his book about their encounters, leaving the reporter shaken. Finkel reads a section of his book, entitled True Story, at a promotional event in a bookstore. Taking questions from the audience, he imagines Longo standing in the back of the room. Longo says that, if he has lost his freedom, Finkel must have lost something as well. Finkel is unable to respond.

Title cards reveal that Longo admitted, a year later, to killing his entire family. Although Finkel never wrote for the . She explains that despite its beauty she can not hear it without remembering the facts of the composer's life: that Gesualdo murdered his wife, her lover, and their child.

On Rotten Tomatoes, the film has a rating of 4. The site's critical consensus reads: . British Board of Film Classification.

May 6, 2. 01. 5. Retrieved May 6, 2. The Numbers. Retrieved March 1. Movies. ign. com. Retrieved May 1. 3, 2. March 2. 9, 2. 01. Retrieved July 1, 2.

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July 1. 97. 3, pp. December 1. 6, 2. Retrieved December 1. Rotten Tomatoes. Retrieved August 1. CBS Interactive. Retrieved July 1. Teen Choice Awards.

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All 1. 9 Movies from 2. Cannes Competition Ranked From Worst To Best « Taste of Cinema. The Cannes International Film Festival, founded in 1. At its center, there’s the Competition, all the films that are nominated for the Palme d’Or, the biggest award of the festival. The Competition lineup this year seemed, on paper, refreshing. There was significantly inferior presence of filmmakers that were already awarded in comparison to recent years, letting the door open to some other directors to present their work. Some of the surprise apparitions on the list were Robin Campillo, the Safdie Brothers and Noah Baumbach, who made his Cannes debut.

But it’s Cannes after all, the most elitist film festival of all, so of course there are familiar faces like Michael Haneke, Fran. Donald Clarke from The Irish Times called the line- up “the most promising in a decade”. This year’s competition, unfortunately, promised too much and delivered too little.

The few exceptions to the overall mediocre ensemble are, however, great movies that will probably be remembered during award season later in the year. The Day After (dir. Hong Sang- soo)Hong Sang- soo is one of the most acclaimed South Korean filmmakers of the 2. Century. His 9th feature, “Ha Ha Ha” owned him the Un Certain Regard Award at Cannes in 2.

This year, Sang- soo decided to return to the festival with not just one but two new films, the out of competition entry “Claire’s Camera” and the competition entry . Boo 2 A Madea Halloween (2017) Review here. With “On the Beach at Night Alone”, presented earlier this year at the Berlin Film festival, it makes three movies he has released in 2. While it’s impressive that he has managed to work in so many projects at the same time, Sang- soo has only proven that quantity does not equal quality. In an inexplicable move, Sang- soo decided to submit in competition not just his weakest film this year but the weakest he has ever made.“The Day After” stars Known Hae- hyo as Bongwan, the boss of a small publisher. He has a passionate affair with her employee but she leaves. When Bongwan’s wife finds out, she attacks his husband’s new employee, Areum, confusing her with the woman who left.“The Day After” is one of the dullest movies ever made with not a single interesting moment during its seemingly endless hour and a half running time. Sang- soo chooses to stage most of his scenes around tables where the characters drink some kind of beverage, alcohol, coffee, or whatever they want.

And they talk. These conversations are shot in one take, with no intention of visual dynamism whatsoever. The process is done over and over again (sometimes entire conversations are repeated), creating a tedious watching experience. At the end, the acting is left alone as its only redeeming quality.

Rumor has it some doctors are recommending “The Day After” as a very useful medicine against insomnia. Radiance (dir. Naomi Kawase)Naomi Kawase has a enviable experience at the Cannes Film Festival. She received the Camera D’Or in 1. Suzaku”, then the Grand Prix for the “The Mourning Forest” ten years later. Another ten years had to pass for her to come back to the competition with “Radiance”, this time receiving mixed reviews and deservingly so.

The film follows Misako (Ayame Misaki), who writes descriptions of movies for the blind. Her work never seems to be satisfying for her listeners, especially Nakamori, an aging photographer whose sighting is disappearing by the day. The Hollywood Reporter’s Clarence Tsui has accurately noticed the resemblance between Misako and Kawase.

The film’s director, Naomi Kawase, has been trapped in a similar conundrum in recent years, alternating between movies characterized by empty enigmas (Still the Water) and contrived melodrama (An)”.“Radiance” is a well intentioned film but it unfortunately fails to deliver the emotional resonance it so hardly wants to reach because of its underdeveloped characters, cheesy dialogue and sappy resolutions. The Double Lover (dir. Daddy`S Home (2015) Full Divx Movies.

This could easily be part of a list of so bad it’s good movies. So over the top, ridiculous and unintentionally hilarious it ends up being kind of enjoyable if you take it as a comedy or have a few drinks with some friends while watching it. This thriller follows Chlo.

They become romantically involved and move together. One day, as she’s heading to work, she sees Paul with another woman. She then discovers that the man she saw is not Paul but his twin brother, who’s also a psychiatrist.

After asking for a therapy session, she starts an affair with him. This is a premise worthy of a Mexican soap opera so it’s not surprising that the film ends up being very campy. Many scenes suggest that Ozon tries to create an exploration of a character’s psyche but he comes as superficial and dumb. The “sexy” dialogue is taken straight out from the “5. Shades” catalogue of bad lines. There are many gratuitous sex scenes that don’t serve any purpose to the story, only to give the audience a look of “kinky intercourse”.

It’s also hilarious how Jeremie Renier plays the twin brother: he tries to be serious, menacing and manipulative but the only thing that he produces is laughter. Jacques Doillon)Here’s the perfect example on how NOT to do a biopic about an artist. Auguste Rodin’s relationship with Camille Claudel has been explored multiple times before, most notably in 1. Gerard Depardieu as Rodin and 2.

Juliette Binoche as Claudel. The latter is a haunting character study of a fascinating historical figure with a riveting lead performance. Was it necessary to make another movie on the subject, now focusing on Rodin? Short answer: no. This new take starts in 1. Rodin is finally acknowledged by the French State who orders a sculpture from him: The Hell’s Door.

Helping him in the project is young student Camille Claudel. They start a relationship that although full of passion will fade away quickly. Jacques Doillon, once a skilled filmmaker, doesn’t even make the effort to make Rodin human. He’s a cartoon, a clich. In one of the movie’s most idiotic moments, during a walk, Rodin makes remarks about how “beautiful” the trace left by the snails in the floor are. Can we take something like that seriously?

Every bit of dialogue feels written in retrospective. There’s arbitrary historical references to other artists, and some scenes which Rodin shares with them. Who knew they call themselves by their last name as we, a contemporary audience, do? The film seems to be more interested in Rodin’s creative process than his personal life (the whole storyline involving Camille Claudel is pretty pointless since she abruptly disappears in the last half hour) which would be fine if Doillon wanted to actually explore deeper in Rodin’s work instead of focusing on praising and portraying him as a misunderstood genius.

It might not be as terrible as reviews suggest (it has received the worst score in Rotten Tomatoes than any other movie in competition with a disastrous 1. A Gentle Creature (dir. Sergey Loznitsa)Sergey Loznitsa has proven to be over the years one of the most interesting Russian directors working today. His films My Joy (2. In the Fog (2. 01. Maidan (2. 01. 4), which all premiered at the Cannes Film Festival, were excellent, thrilling and haunting portraits of his country. Loznitsa is still interested in exploring the social dynamics in Russia with “A Gentle Creature”.

The main character is a woman that lives alone in the outskirts of Russia whose husband is in prison for a crime, she claims, didn’t commit. After receiving a package she sent to her husband, she decides to deliver it to him personally. There, she will find all kinds of trouble and unanswered questions from an oppressive bureaucratic system. The first half of “A Gentle Creature” works quite well. The struggles of her main character are believable as she approaches many times the officers that refuse her right to give a package to her husband without explanation.