The Good Liar

The Good Liar has grossed $17.2 million in the United States and Canada, and $16.2 million in other territories, for a worldwide total of $33.4 million,[5] against a production budget of $10 million.[4]

In the United States and Canada, the film was released alongside Charlie's Angels and Ford v Ferrari, and was projected to gross around $5 million from 2,439 theaters in its opening weekend.[11] It made $1.6 million on its first day and went on to debut to $5.6 million, finishing seventh at the box office.[3] It fell 40% to $3.6 million in its second weekend, finishing in tenth.[12]

Rotten Tomatoes reported that 63% of critics have given the film a positive review based on 164 reviews, with an average rating of 6.20/10. The website's critics consensus reads, "The Good Liar is less than the sum of its prestigious parts, but Ian McKellen and Helen Mirren keep the proceedings consistently watchable."[13] On Metacritic, the film has a weighted average score of 55 out of 100 based on 31 critics, indicating "mixed or average reviews."[14] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale, while those surveyed at PostTrak gave it 4 out of 5 stars, with 56% saying they would definitely recommend it.[3] The Guardian included it in a list of the most underrated films of 2019.[15]

In his review for The Wall Street Journal Joe Morgenstern wrote, "“The Good Liar” is calculation from arch start to hollow finish... This film grows grim enough to be a companion piece."[16] Ben Kenigsberg of The New York Times commented, "The sleight of hand “The Good Liar” tries to pull off might be easier to keep hidden on the page. As it progresses, the film reveals complications (it plays particularly dubious tricks with the way it parcels out flashbacks to the 1940s) and a motive that might as well have been picked out of a hat. The finale could be written with entirely different details, and almost no scene preceding it would have to change. The real good liar is whoever convinced Mirren and McKellen to class up such thin and arbitrary material."[17] Peter Sobczynski writing for RogerEbert.com gave the movie two and half stars out of four and stated, "...it quickly becomes apparent that this is one of those stories where nothing is quite as it seems, and leading to a shocking revelation that most will see coming, at least in the broad strokes. A film of this sort needs an airtight plot—or at least airtight enough to keep you from questioning things as it is running—but there are a few too many instances in which characters say and do things solely because the plot requires them to do so."[18] Sandra Hall of The Sydney Morning Herald gave the film three and half stars out of five and noted, "...as a result, there's not much suspense. It's an enthralling exercise but a peculiarly cerebral one – a psychological thriller without the thrills."[19] The Guardian's Wendy Ide gave the film three stars out of five, stating, "...The Good Liar is at its sparky best when Mirren and McKellen are on screen, waltzing smoothly through a plot that feels like a Russian doll of deeper and deeper deceptions. Flashes of violence are effectively jarring when juxtaposed with the chintzy cosiness of much of the film. Less successful are two thudding, lead-weight flashbacks, which disgorge chunks of exposition and quash some of the fun in McKellen and Mirren's deft double act."[20] Elizabeth Weitzman of TheWrap said, "There’s only one truly unpredictable twist in “The Good Liar,” and that's the disappointment audiences are likely to feel when they leave the theater."[21]

The Adelaide Review gave the movie 7/10 points, noting, "Helen and Ian’s first film together (although they’ve previously appeared as a double-act on the stage), this has an especially complex and even unpleasant performance by him, but she’s no slouch too, and it’s good to see Tovey holding his own in scenes alongside these two ‘national treasures’. And yes, as Helen's Betty would say, “It’s so English!”"[22] In his review for Rolling Stone, David Fear gave the film two stars out of five and wrote, "The real question is: Are you willing to endure all of that random swerving for the simple pleasure of these performers’ company? Both actors are, unsurprisingly, bending over backwards here to sell these characters and establish enough screen chemistry to smooth over a lot of rough patches... They play off each other beautifully despite the material, and they get a chance to indulge in the aforementioned range of sound and fury. Yes, you would watch these two in virtually anything. You just wish it wasn't this. They deserve something sturdier and far less head-slappingly preposterous, and that's the truth."[23] Jon Frosch of The Hollywood Reporter added, "An example of the kind of middlebrow, classily accoutered “cinema for adults” that's grown rare in the Age of Marvel, the film may pique the interest of viewers of a certain age; there's a comfy pleasure in watching these two pros patter back and forth in plummy accents, clutching mugs of tea or sipping flutes of champagne. Yet The Good Liar’s sophistication is nothing if not skin-deep. For all its nasty twists and turns, its fake-outs and flashbacks and cheekily preposterous pile-up of double-crosses, this story of an elderly con man and the wealthy widow he targets feels fatally devoid of danger. Square, tame and tidy as the London-area house kept by Mirren’s primly elegant, creamy-complexioned septuagenarian, The Good Liar is a work of skill but little spark."[24] Le News gave the film three stars out of four, stating. "Two superb actors from the grand culture of English drama – Helen Mirren and Ian McKellen – are enough reason to pull you into this intriguing tale of deception... If you’re looking for quality entertainment with an absorbing script, multiple twists and great acting, this is your film. Not a masterpiece, but captivating and satisfying."[25]

David Hughes of Empire gave the film three stars out of five, commenting, "...even if you know what's coming, there's joy in watching two flawless performances from these much-loved veteran actors, relishing every nuance of their characters, and every moment of their time on screen. They're so good, in fact, that the film flags every time one or both of them are off screen, such as during the flashback sequences, with which a more daring adaptation might have dispensed... It may be a shaggy-dog story, with occasional lapses into melodrama, but Mirren and McKellen are on sparkling form, and when a film aimed primarily at pensioners employs both the C-word and gory injury detail, you can't accuse it of being boring."[26] David Ehrlich of IndieWire stated, "...it’s Mirren who’s ultimately asked to carry this movie across the finish line, and she does so with oodles of her signature elan. It’s a rare actor who can split the difference between an airport thriller and a historical reckoning — who’s able to conflate the silly with the serious in a way that completely erases the difference — but Mirren is more than up to the challenge. The final stretches of Condon’s film are so ludicrous that you almost feel swindled for caring about the movie until that point, but Mirren grounds one plot twist after another with the gravity of her conviction (and a little help from Carter Burwell’s lilting, uneasy, “Mr. Holmes”-esque score). “The Good Liar” may not have much to say about redemption, entrapment, or the fibs that can hold a friendship together, but the past is only so important to a wicked little thriller that delights in the moment at hand."[27] Jess Layt of Hawkesbury Gazette gave the movie 5.5/10 points, commenting, "This is a story gives older actors some genuine character work, an actual story and motivations and a life. That being said, the way The Good Liar plays out in its final act feels like a bit of a hoodwink in itself. Audiences have been following these characters for a good chunk of film, only to have odd backstories suddenly revealed for which there is no apparent foreshadowing... The Good Liar, much like its protagonist, talks big game but is really just confused about its identity and place in the world."[28]