The Good Liar (2019)

Based on the novel by Nicholas Searle, this film is a thriller of epic proportions.

Roy Courtnay (Ian McKellen) and Betty McLeish (Helen Mirren) meet up for a drink after meeting each other online. They both admit to smearing the truth a little on their online profiles, in particular, they have both given false names, a little reticent to share anything too personal on the Internet.

But the two of them seem to connect to each other emotionally, and what starts as a friendship soon moves on to something more, initially companionship, but it looks like it might progress even further.

The only problem is, Roy is still not who he seems. Working with his friend Vincent (Jim Carter), he has been scamming people out of large sums of money for years.

Roy (Ian McKellen) and Betty (Helen Mirren).

When he discovers that Betty is in possession of a pretty sizeable fortune, he and Vincent decide that they are going to take her for everything she has.

However, there is another complication going on at the same time. Stephen (Russell Tovey) - who Betty introduces to Roy as her grandson - is highly suspicious of Roy from the beginning, and is undertaking his own investigation behind the scenes, trying to expose Roy for the fraud he is certain he is.

I won't say any more than that at this point, because there are so many twists and turns - all of them unexpected - that to go any further would spoil it.

Roy (Ian McKellen).

The screenplay, written by Jeffrey Hatcher from Searle's novel, is absolutely brilliant. I have sadly not read the novel, so I don't know how good an adaptation it is per se, but the characters and plot are so intricately woven together to tell a story that will have you on the edge of your seat for the majority of its nearly-two-hour running time.

Carter Burwell's original score is equally as impressive, from the opening orchestral strains over the opening titles - with a featured clarinet solo - right through the entire film, where music is used only to highlight the tension and emotion of some of the more intense scenes. (A quick note on the opening titles: There are several - clever - clues as to the deeper hidden meanings of the film contained in the titles, so pay close attention!) At no point does the film feel overscored, but the aesthetic quality of the score is truly magnificent.

The cinematography is in the perfectly able hands of Tobias A. Schliessler, who possesses a good working knowledge of light, dark, shadow, contrast, framing, and all the other things you would want in a cinematographer.

Betty (Helen Mirren).

A big part of this film - which takes place not only in the recent present (2009) but in various periods of recent history (most predominantly the 1940s) - is of course the production design and costume design, which go a long way to setting the scene, and creating a reality that transports the viewer into the world of the story. And both John Stevenson and Keith Madden respectively have done an amazing job, perhaps even worthy of Oscar nominations (watch this space!).

However, as you might expect with the incredible amount of experience between the two leads, it is in the performances of the cast that this film reaches new heights. Both McKellen and Mirren are absolutely amazing in their roles. The supporting cast are also good, but it is definitely these two who make the film what it is. Again, I wouldn't be surprised if there were Oscar nominations in the pipeline; they really are that good.

Director Bill Condon has made a high-intensity, high-stakes - but at the same time, highly-emotional - thriller here that will certainly keep you enthralled until its brilliant conclusion. While I whole-heartledly recommend you see this film, it is not necessarily essential that you see it on the big screen (but don't tell the marketing department I said that).

9 out of 10.