The Good Liar
Directed by Bill Condon
- crime
The story
Career con man Roy sets his sights on his latest mark: recently widowed Betty, worth millions. And he means to take it all. But as the two draw closer, what should have been another simple swindle takes on the ultimate stakes.
What it’s like
Cool, composed London interiors and sunlit Thames-side streets give The Good Liar a polished, old-money gleam, with careful two-shots and slow push-ins that let faces do the work. Its score is restrained piano under light strings, and its cuts often land on a quiet glance or a held pause rather than a sting. The vibe is elegant and sly, a cat-and-mouse chill wrapped in tea-cup manners, best for a slow evening with a drink or a rainy afternoon when you want something clever rather than loud. Two veteran actors trade lines with relish, and the story moves through scenes of tense conversation, lies layered over lies, and a steadily tightening pressure. Violence is sparse and sharp when it comes, and the darker turns are handled through implication rather than gore. It suits viewers who enjoy twisty character drama, crisp dialogue and performances built on subtext, and it is a little too measured for anyone wanting pure thrills.
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