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2011 87m R
A documentary on a former Miss Wyoming who is charged with abducting and imprisoning a young Mormon Missionary.
Air Loom Enterprises
Cast of Tabloid
Jin Han Hong
It is quite simply one of the craziest stories ever told, made all the crazier by the fact that it's true. Or at least some version of it is true.
Errol Morris is a genius, a gifted documentarian who has made better movies than "Tabloid," but none so entertaining.
St. Louis Post-Dispatch
"Tabloid" is tantalizing, but like yesterday's headlines, it's a fleeting flirtation.
The movie is guilty of condescending toward its subjects, though most of them appear to be having a fabulous time telling tales.
Dallas Morning News
Tabloid, Errol Morris' latest wild and woolly portrait of human self-delusion, is a scandal-sheet dream come to life.
Sara Michelle Fetters
McKinney is of course the star, insisting that her version of events is the true one and that everyone else has some sort of axe to grind and doesn't know what they're talking about.
Morris has found a real character in McKinney, but to what end, I couldn't say.
Philadelphia City Paper
With its cutesy cut-out graphics and mock-emphatic headlines, Tabloid sends up the hysteria of supermarket-rag coverage, but that's also the fuel that keeps it running.
A tale of obsession and abduction, self-delusion and sexual confusion, Errol Morris' Tabloid stands as an almost giddy affirmation of the old cliche: Truth is stranger than fiction.
Operates as both an examination of the dominating media mentality at the time and an embodiment of it, no less keen on delving into the juicy details now as tabloid rags were then.
Though the events Tabloid recounts took place in the pre-digital age, the film also functions as a kind of prehistory of modern celebrity culture and tabloid journalism.
Morris's subject is sexual fantasy and a particular kind of American stupidity-the ability to substitute self-justification for self-knowledge. His tone is merry.
J. R. Jones
Morris adds to the hilarity with his signature device of superimposing key words onscreen in giant type; the movie is a welcome reminder that he got his start immortalizing American oddballs.
Christian Science Monitor
Morris is clearly fascinated by her mega eccentricities and lets her go on at great length telling her side of the story.
Although he has tackled many serious subjects (and finally won an Oscar for The Fog of War, his gut-wrenching portrait of former Secretary of Defense Robert S. McNamara), filmmaker Errol Morris has always had a fondness for life's oddballs...
The viewer is left with no clear indication of what really happened, but with a vibrant portrait of a compelling character. That's what Morris is after.
Tabloid spins a heck of a yarn, while implicitly warning viewers not to be so entertained that they believe every gamy detail.
For fans of Morris's work, which often grapples with the nature of truth and memory, it's a must-see film.
New York Daily News
It's all compelling, in the way reading trashy gossip usually is. But without any new perspectives, what's the point?
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