We Are Movie Geeks

The movies (especially dramas) have enjoyed a long infatuation with the legal system, particularly in the courtroom’s near-theatrical setting and its trappings. There are monologues (opening and closing statements) and dialogues (the ole’ cross examination on the witness stand, where Perry Mason got many a startling confession). And that essential conflict between those seeking justice or compensation and those often literally fighting, pleading for their lives. Good dramatic fodder, but what if journalism is tossed into the mix, mainly the cynical reporter or writer researching and often befriending (despite their resolve) the accused. Those were big parts of the recent dueling biographies of Truman Capote as he researched, and became smitten with, the deadly duo he profiled in that crime classic IN COLD BLOOD. The writer/defendant pairing is once again explored in this new film and like those Capote flicks it is a TRUE STORY.

After a brutal, heart-wrenching nearly silent sequence, the film transports us to Africa as New York Times investigative reporter Michael Finkel (Jonah Hill) interviews teenage boys, through an interpreter, who were child slaves. Meanwhile, at a church in Mexico, Christian Longo (James Franco) befriends a pretty German tourist, introducing himself as NY Times reporter Michael Finkel. Cut to the Times newsroom as Finkel finishes up his child slavery expose, just in time to be the cover piece for the magazine supplement. This just as US law enforcement catches up to Longo south of the border. Things take a turn for the real Finkel up in the states as the authenticity of the African report is challenged. Seems that the boy profiled in the piece was a composite that encompassed all the true horror stories for more dramatic impact, as Finkel clumsily explains in his defense, to no avail. He’s out of the Times and returns to the Montana cabin-style home he shares with his researcher wife Jill (Felicty Jones). Finkel exhausts his publishing contacts in a futile effort to jump back into journalism, but the writer with so much promise is now seen as “damaged goods”. Then a call out of the blue from a newsman in Oregon stuns him with, “What do you think of this accused murderer using your identity?”. An intrigued Finkel travels to the jail to meet with Longo, who’s awaiting trial for the killing of his wife and three young children. Longo expresses his admiration for Finkel’s work and loans him his notebooks filled with musings and sketches. The men agree to collaborate on a book. As Finkel continues their meetings and begins to research, he thinks he’s unraveled the mystery of Longo. Could he possibly be innocent? And will Finkel help him gain his freedom?

STORY mostly unspools as a dramatic showcase or “calling card” for two actors primarily known for their comedic movie rules (both are charter members of the “Apatow pack”). Of the duo, Franco has compiled a longer list of “serious” work (hey, he was James Dean in a cable TV flick!), but we’re not seeing much of anything new here. He’s working his sloe-eyed, squinty charms for maximum seductive effect (and it somewhat ensnares Finkel in his web), but that usual intelligence is AWOL. His Longo is often clumsily and overtly manipulative, particularly in his big, klunky courtroom confessional. Hill has only had a couple of chances to work his “drama chops”, scoring Oscar noms for his expert turn in MONEYBALL and, inexplicably, as the exhibitionist, drug-addled, buck-toothed broker buffoon in THE WOLF OF WALL STREET (still a mystery!), but he brings some much-needed energy to the film, particularly when he’s called on the carpet by his Times bosses (you can almost smell the “flopsweat”). Too often, though, he’s reduced to a breathless awe (we expect him to lunge for his much used inhaler) in his scenes with Franco.  But we can never truly believe that Finkel’s really buying the B.S. that Longo’s selling (and shoveling). Jones, so wonderful in last year’s THE THEORY OF EVERYTHING (easily matching Oscar-winner Redmayne) is given  little to do here as the standard movie-bio supportive wife complete with furrowed brow and much hand-wringing. Does she feel that her hubby is falling for his subject or is she concerned for their safety? Perhaps to compensate the actress,  Jill is giving a third act big confrontation scene that comes off as both exploitive and far-fetched. Still, there’s some terrific supporting work here by Gretchen Mol as Finkel’s “you know what”-busting Times editor, Ethan Suplee as the small town writer that alerts Finkel, and Robert John Burke as the dogged lawman who will not rest till Longo is found guilty (you can almost see the daggers shooting from his eyes as Franco takes the stand).

Rupert Goold’s direction of the screenplay adaptation he co-wrote with David Kajganich, from Finkel’s memoir, just never keeps a constant momentum and feels twice as long as its 100 minutes. The film’s pace just seems to stall out, much too often. Maybe it’s the sterile setting of the courtroom or the airy holding area where Finkel and Longo engage in some many protracted conversations about the crime and literary structure. We never really get inside Longo’s head, aside from some hazy, slow-motion shots of the happy kids and haunted wife cavorting in parks and playgrounds. He’s the con man who’s far less clever than he believes. The only look at the grieving families is a bitter encounter with Finkel outside the courtroom. The final moments come across as a cheap play to deliver a chill up the spine before the odd pre-credit update coda (the unsatisfying messiness of real life). There’s three truly talented actors at this film’s center, but even they can’t elevate TRUE STORY beyond basic cable TV fare.

2.5 Out of 5