Upon publishing a false story, Michael Finkel, a young aspiring journalist in New York Times News, lost his job and struggles against finding another, when he finds himself accused of murdering a family, as he finds out that a man steals his identity and committed the crime.
Filming a drama about the compromises and conventions of storytelling, Goold falls prey to them. He lacks the pulp verve and the symbolic imagination to illuminate or even convey the characters' mysteries.
Both characters are so deeply immersed in their own fabrications, any bid at genuine truth is doomed from the beginning. The best part is: We don't care, because we're not expected to like either one.
The height of poor taste. Grants notorious men even more notoriety by giving voice to their inexcusable 'travails,' thereby feeding their self-absorption.
Franco and Hill's early scenes together maintains intrigue for a while, but True Story never quite indicates that it has something compelling going on beneath the surface.
