Starring: Ian McKellen, Helen Mirren, Russell Tovey, Jim Carter
Distributor: Roadshow Films
Runtime: 109 mins. Reviewed in Dec 2019
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An unpredictable, twisty drama firmly pitched at grown-ups, the pulpy thrills offered by ‘The Good Liar’ are elevated by the committed turns of its prestigious leading duo, whose undeniable charm miraculously survives the story’s ugly subject matter untarnished. Its unpredictability keeps you solidly hooked throughout its twists and turns, so although it doesn’t coalesce as cleanly as you might hope, it’s a decent ride spent with good company.
After chatting on an internet matchmaking service, Estelle (Helen Mirren) agrees to meet Brian (Ian McKellen) for dinner – or should that be Betty agrees to meet Roy for dinner? Because the duo (like plenty of others making the foray into online dating) have been less than truthful in their efforts to put their best feet forward. Though Betty’s little fib about her real name seems harmless enough, it turns out that Roy has a little more to hide. In fact, Roy’s closet is just about fit to burst for all the skeletons he’s hiding.
Roy is a career con artist; when he’s not laying it on thick for Betty, he’s busy setting up a scam with his crony Vince (Jim Carter), fleecing some would-be investors out of their hard-earned cash. Jeffrey Hatcher’s screenplay (based on the novel by Nicholas Searle) includes this early fraud to two ends. Firstly, it establishes some important elements of their M.O. that we’ll see again later, like the digital keypads that the pair use to let their marks transfer money into dodgy joint accounts. More importantly, though, the sting and its aftermath show us just how ruthless Roy is willing to be when it comes to securing a score.
Of course, Betty is in the dark about how dangerous her new companion is. Concerningly, despite the protests of Betty’s cautious grandson, Steven (Russell Tovey), Roy soon moves into Betty’s spare room, where he continues to roll out his and Vincent’s plan. Eventually, the wisely distrusting Steven confronts Roy with proof of his past scams, and this crucial moment heralds further twists throughout the film’s runtime that do not bear spoiling. From the outset, Roy’s catfishing con feels too simple for the story not to have more dry powder tucked away in its keg, but exactly what constitutes the powder in question is frankly impossible to predict because it comes from so far left of field. You get the vague sense that Betty might be catching on to Roy’s tricks, or at least giving some consideration to Steven’s warnings, but the denouement takes everything further than anyone not familiar with the source material could be expected to predict.
As they go toe-to-toe, there’s a certain pleasure in watching McKellen and Mirren’s performances closely, decoding what they might be thinking or discovering about the other. They’re both as sharp and as charming here as you’d expect from veterans of their talent and renown. Roy needs a sparkle in his eye to earn the hearts that flash across Betty’s, and McKellen delivers exactly that. In Mirren’s hands, Betty is a pleasing combination of vulnerable and enigmatic, hiding just enough of herself to keep you guessing. With the leading duo burning up the screen, Steve was inevitably going to feel a little impotent, but Russell Tovey’s work suits the character well. Of the below-the-line credits, only the music stands out, with Carter Burwell’s elegant score leaning on strings to add a classical feeling to the intrigue that unfolds.
‘The Good Liar’ plays with the audience’s sympathy in strange ways, because you are fundamentally taken by McKellen’s lithe performance, but what he’s planning for the sweet-as-ever Dame Helen Mirren is downright contemptible. Recognising this, the film’s big denouement pulls a savage trick in rapid character development that renders the audience’s support firmly in one camp. Though arguably a tad clumsy, the rug pull does its job, leaving you with a prevailing sense of justice served. ‘The Good Liar’ is a decent thriller that treats its uneasy slow-burn home invasion with thought and gravitas. It wouldn’t be nearly as enjoyable without McKellen and Mirren, but that’s an alternative that we don’t need to consider.
Callum Ryan is an associate of the Australian Catholic Office for Film & Broadcasting.
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