Mary Poppins Returns
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All Critics (19)
| Top Critics (10)
| Fresh (14)
| Rotten (5)
The acting in The Lie -- including a nice bit by Mark Webber as a stoner pal who lectures Leonard on responsibility -- is good enough to almost overlook a so-so ending.
Comprising small, near-perfect scenes played out largely at dinner tables and on couches, "The Lie" wonders if it's possible to rewrite lives and remake choices.
It doesn't try too hard, but what "The Lie" is working at, in its unassuming, amusing way, is a mini-portrait of growing pains in a time of extended adolescence.
The Lie's payoff strikes an unexpected, refreshingly open note that makes this slight little indie more resonant than its scale suggests.
Here's a film in which the actors create plausible people we would probably like. They're loose inside the skins of their characters.
The movie meanders like its dissatisfied, part-time pothead protagonist, not wisely but too well.
Leonard plays Lonnie with unflattering commitment: you've gotta credit a fellow who plays feckless, selfish and dim so fully.
A well acted and uncommonly assured and engaging portrait of post-millennial and particularly male uncertainty.
Embedded in The Lie is a sharp look at the moral limbo of a complacent life, the self-defeat of committing by halves, the self-interest of false equivalencies - but only the shallowest attempts are made to chip its themes out.
Leonard does a nice job of ramping up the comedy without sacrificing the believability of the world he's established; the movie is very funny at times but it's never outlandish.
The Lie is a sturdy directorial debut from actor Joshua Leonard.
This is an assured directorial debut that goes beyond what we often see out of indie filmmakers.
There are no featured reviews for The Lie at this time.
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