2019 was a great year in film. On a consistent basis, we received exceptional narratives, focused on preciseness and stability. One of my biggest surprises of the year was Bill Condon’s “The Good Liar.” In simple terms, it’s a romantic stick of dynamite.
At first glance, “The Good Liar” is a respectable piece of fiction, starring Ian McKellen and Helen Mirren (two of our finest performers). But underneath everything, the film expertly hones the unpredictability of deceit. It’s the type of narrative that showcases the layers of mankind, unleashing the scary transformations that are forged between humanistic interactions.
Some of the best performances make us feel different emotions regarding the same character. In this case, McKellen brings to life the horrific combination of masculine charm and ungodly versatility. At every point, this veteran performer toys with our emotions. One minute, he is a frail man, complete with politeness, grace, and amusement. The next minute, he is a shell of a man, lacking any sense of empathy and coherence.
Mirren’s performance enhances the picture’s narrative thrust. At the onset, her character is a sweet, helpless woman, deserving of our respect. But as time moves on, the character’s intellect becomes even more clear, altering the personalized dynamics at play. Consequently, the characterizations always feel fresh.
Condon’s film does a nice job of showcasing female humanity and superiority (I will not go any further). As the ending gets closer and closer, these aspects come to the forefront, unleashing a great deal of truth when it comes to female suffering. The delivery of said aspects is a bit sloppy, largely due to the overwhelming utilization of exposition, but all in all, “The Good Liar” is a fun time at the moves. The truth is….the Good Liar rocks. Respect your elders, people.
Incluvie Score: 3
Movie Score: 3
Originally published by Dillon McCarty for Incluvie on January 10, 2020