From beginning to end, with only a couple small exceptions along the way, The Good Liar is about exactly what you'd expect — which isn't inherently an awful thing — but when the intrigue of your con-man film lies in its twists and turns, deceptions and deflections, it certainly isn't ideal.
The opening credits, styled like works printed on a page via typewriter (which ultimately has no relation to anything in the film; odd choice), are interspersed with montage of elderly widow and widower Estelle (Helen Mirren) and Brian (Ian McKellen) chatting with one another through an online dating platform and agreeing to meet for dinner. Over dinner, Brian ashamedly reveals that his name is not in fact Brian, but Roy, and Estelle coyly reciprocates a similar confession, revealing her name is actually Betty. These two lies are only the first of many spun by either character throughout the film, though the fibs come predominantly from Roy, as he is a con man who makes a living fooling the ignorant upper class with phony investment deals.
The two quickly become quite fond of one another, as they seem to click on an intellectual level. This is great for Roy, as he finds out that Betty has upwards of £2 million in the bank, and has every intent of swiping it out from under her nose.
So begins an intricate web of lies crafted to maintain the illusion that Roy is an aloof old man just looking for love, while he slips off during the day to scam rich, dumb foreigners. Betty, meanwhile, seems to have secrets of her own, and as can be expected, the two spend the rest of the film working their way closer to finding out the truth of one anothers' intents.
Bill Condon directs the proceedings with relatively little pizzazz — not that it's poor in its presentation so much as it is basic. The script, similarly, brings little subtextual excitement, as the performances and editing telegraph exactly every instance of deceit or cunning.
On the other hand, there's an abundance of satisfaction to be had in simply watching McKellen and Mirren, two classically-trained English titans of the theatre, converse in the most English ways imaginable. Phrases like "tickety-boo" and "Bob's your uncle" roll out of McKellen's mouth with warm, casual aplomb, and Mirren's facial expressions carry as much weight as the words she speaks. If you're going to watch this film, it should simply be to enjoy these two masters play off of one another.
And while I'm not a fan of the "elaborate finale reveal showing that everything leading up to this moment was orchestrated, without any prior hints that it was coming" style of twist, I'll give this film a few extra points just for taking it one step further and making the whole affair much more intimate and personal than I bargained for. It makes the ending somewhat more effectually triumphant and satisfying that the contrived and tired structure otherwise would have.
If you opt to see it, it ought to be for McKellen and Mirren, and their chummy exchanges throughout the first hundred minutes. Otherwise, there really aren't enough thrills or substance to walk away with.
https://www.youtube.com/watch?v=ljKzFGpPHhw&w=585