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In his latest, the Gillian Flynn adaptation “Gone Girl,” he shines it into the deepest depths of not a serial killer’s mind or a schizophrenic’s madness, but on a far more terrifying psychological minefield: Marriage.

In his latest, the Gillian Flynn adaptation “Gone Girl,” he shines it into the deepest depths of not a serial killer’s mind or a schizophrenic’s madness, but on a far more terrifying psychological minefield: Marriage.

“The Good Lie” tells a fascinating story, that of the so-called “Lost Boys” (and girls) of Sudan, youngsters orphaned by the bitter war that engulfed their country beginning in 1983, forcing many to trek for hundreds and hundreds of miles — over several years in some cases — to safety.

“The Good Lie” tells a fascinating story, that of the so-called “Lost Boys” (and girls) of Sudan, youngsters orphaned by the bitter war that engulfed their country beginning in 1983, forcing many to trek for hundreds and hundreds of miles — over several years in some cases — to safety.

Reitman’s suburban tale artfully weaves a handful of overlapping stories of lonely teenagers and their lonely parents in small town Texas, all of whom are unable to summon a smile in the two hours of this dour, downbeat melodrama.

Reitman’s suburban tale artfully weaves a handful of overlapping stories of lonely teenagers and their lonely parents in small town Texas, all of whom are unable to summon a smile in the two hours of this dour, downbeat melodrama.

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