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The Law Is A Ass #367: Daredevil’s Work Ethic Actually Works For A Change

daredevil_vol_4_15-1-6530981Will the real Matt Murdock please stand up?

I have, in the past, detailed incidents where Matt Murdock, New York lawyer and secret identity of the super hero Daredevil, put the ick in legal ethics. I have, in fact, done more detailing than a guy prepping cars for the show room.

Then along came Daredevil v 4 #15.1 and its story “Worlds Collide.” It’s a story set so early in the career of Matt Murdock and Daredevil, that he and Foggy Nelson hadn’t even formed the law firm Nelson and Murdock yet. Matt was a first-year associate at the prestigious Manhattan law firm Hutchins & Wheeler. Was still wearing his original red and yellow costume. And, apparently, was so new to the practice of law that Matt hadn’t yet learned how easy it was to game the system.

On one of his first patrols as Daredevil found a gunshot victim lying dead in Central Park. He heard the elevated heartbeat of three men running away from the crime scene. He chased the closest of the three men, Luiz Sifeuntes, who threw the murder weapon away as he ran. Then Daredevil caught Sifuentes, tied him to a tree, and made an anonymous call to the police.

Sometime later, Hutchins & Wheeler took on Mr. Sifuentes’s case as part of its obligation to provide five thousand hours of pro bono work. Mr. Wheeler assigned the case to Matt.

When Matt talked with Sifuentes, his client said he was walking in the park and went to the crime scene after he heard gunshots. He saw the victim lying on the ground, saw the gun, and picked it up for no known reason other than the one we all know; that’s what innocent people in stories always do when they find dead bodies with recently-fired guns lying next to them. They pick up the furshlugginer gun and give the state what looks like an air-trite case against them. Seriously, this plot device has been used so often that I think complaining that it’s a cliché has become a cliché.

Matt realized he shouldn’t represent Sifuentes, as he was the person who captured Sifuentes in the first place, so he tried to get off the case. Which was the ethical thing to do, as Matt had reason to doubt his ability to be objective and represent his client zealously. But Wheeler wouldn’t let Matt quit. So Matt, who couldn’t reveal the true reason he wanted off the case – i.e. his secret identity – continued to represent his client as best he could. He filed a motion to dismiss the case during the pre-trial probable cause hearing. The grounds for the motion were that Sifuentes was captured by a vigilante who might not even testify so the state wouldn’t be able to make its case.

This was a very sound argument. As I’ve written in the past, when the heroes capture criminals but don’t stick around to supply evidence, the state has no witnesses who can testify as to the defendant’s guilt. Without Daredevil’s testimony, the state would, literally, have no witness who could put Sifuentes at the scene of the crime or in possession of the murder weapon. Judge Mandelbaum said she would take Matt’s argument under advisement and didn’t rule on it.

Meanwhile, the prosecutor, who realized there was a major weakness in her case, offered Matt the chance to plead his client to manslaughter in the second degree. Matt took the offer to his client, because, as he correctly stated, he had a legal obligation to present any plea offer to his client.

A lawyer does have the ethical obligation to present all plea offers to a client. Even ones the lawyer might think are a bad deal. The lawyer can tell the client that he feels the plea offer is a bad deal and advise the client to reject it. But the lawyer still has the legal obligation to present the offer to the client and let the client decide whether he wants to accept it.

Matt advised his client that the offer was a good deal, but only if he were guilty. Again a very ethical and proper way to act. The client decided to accept the offer, because he felt a guaranteed fifteen year sentence – with parole after ten years with good behavior – was better than risking a possible twenty-five year to life sentence should he risk a trial and be convicted of murder in the second degree.

That’s how Matt spent his days, representing Luiz Sifuentes. That’s also how he spent his nights, because at night Daredevil went looking for, and ultimately found the two men actually involved in the shooting.

The next morning, Judge Mandelbaum denied Matt’s motion. She ruled that when an arrest was made by a vigilante such as Daredevil the decision of whether to proceed with that case should be handled on a case-by-case basis. Each case must be examined on its own merits, rather than allow a blanket ruling that all defendants apprehended by masked super heroes should be dismissed. As Luis Sifuentes was found at the scene and his fingerprints were on the murder weapon, that was enough evidence to bind him over for trial. The trial could decide whether there was enough evidence to convict him, should the vigilante Daredevil not testify.

This was absolutely the correct decision. No court would ever make a blanket ruling that any defendant apprehended by masked a vigilante should be set free. Such blanket rulings would prevent courts from reaching the ultimate question: the defendants’ quilt or innocence. But there was another reason why Judge Mandelbaum was correct in her ruling.

Matt made his motion to dismiss during a probable cause hearing. All that is decided in such hearings is whether there is enough evidence to proceed to trial. The state only has to prove that there’s sufficient evidence to establish that it is more probable than not that the defendant committed the crime. The state does not have to prove guilt beyond a reasonable doubt. So in a probable cause hearing, a police officer could testify that the department received an anonymous phone call of a shooting in Central Park and that when they arrived they found the defendant tied to a tree next to the victim and that the murder weapon, with the defendant’s fingerprints on it, was also found next to the victim. That degree of evidence might not be enough to prove guilt beyond a reasonable doubt in trial, should Daredevil not testify. But it would have been enough for a probable cause hearing. So Judge Mandelbaum was correct in denying the motion in the probable cause hearing.

Matt then informed the court that Mr. Sifuentes was not going to proceed with his plea bargain, because the previous night two other men were apprehended in connection with the murder. Matt further said that he believed any fingerprints on the bullets in the murder weapon would match one of these two men, not Mr. Sifuentes’s and that both men said they did not know Luiz Sifuentes. So Matt made a new motion to dismiss, one based on the argument that Mr. Sifuentes was actually innocent of the charges leveled against him.

Yes, I know this case was early in Matt’s career. Maybe because he was younger and just starting out, Matt wasn’t as daring as he would become. Or as willing to stretch his legal ethics worse than Spanx on Rebel Wilson. But it was so refreshing to read a story where Matt acted ethically and properly. Any chance we could get more of them?

A week later, Matt was rewarded for his ethical actions. I don’t know what actually happened. The two murderers probably confessed and exonerated Luis Sifuentes. All I know is that Judge Mandelbaum dismissed all the charges against Sifuentes “with prejudice.”

What’s that mean, that the case against Luis Sifuentes was dismissed “with prejudice?” Why, it means I have something to write about next week.

The Man From U.N.C.L.E.: Great Spy Movie, Lousy U.N.C.L.E. Movie

manfromuncleposterlarge-7143242We all know how it works. A movie company gets a hold of a classic property like a TV show or even another movie, and proceed to “improve” it for a new audience by largely removing almost everything that made the property good in the first place.  It takes a singular talent to perform such surgery on a concept and successfully replace the gaps with quality entertainment is a rare accomplishment.

Luckily, Guy Ritchie is a singular talent, and while there is effectively none of the United Network Command for Law and Enforcement in the film, The Man From U.N.C.L.E. is a perfectly entertaining period spy movie, a fine film about two men named Napoleon and Illya, much in the same way his Sherlock Holmes films were about two clever fellows name Sherlock and Watson, just not the ones we’re acquainted with.

In this iteration, Napoleon Solo (Henry Cavill) is a former master burglar; captured but pardoned in exchange for working for the CIA, and Illya Kuryakin (Armie Hammer) is the KGB’s best man, but prone to fits of violent rage. So clearly this is not your father’s (or in my case, my) U.N.C.L.E. agents.  Cavill plays Solo with a smooth charm that works perfectly, and while he’s not the cool emotionless Russian that sent hearts aflutter in the 60s, Hammer plays Illya as a semi-traditional Russian brute with a soft side.

Also missing is U.N.C.L.E.’s nemesis Thrush – here an unnamed “international criminal organization” is behind the plot, headed by Victoria Vinciguerra (Elizabeth Debicki), a classic brilliant femme fatale, played to the hilt. The organization has obtained the means and the scientific expertise to manufacture nuclear weapons, still the hotly guarded secret in the sixties, forcing the US and USSR to team up and send in their best men, the aforementioned Napoleon and Illya, who have by now met once, before the were asked to play nice. Napoleon had just completed a tactical extraction, pursued by Illya, of one Gaby Teller (Alicia Vikander), daughter of the scientist believed to be working for Victoria. She is recruited to make contact with her…um, father’s brother, who is believed to have been the one to facilitate the arrangement, in the hopes of revealing their treasonous scheme.

uncle-textless-empire-poster-by-henrycavillorg-6005431The film hits all the points you’d like a period spy movie to hit— fast-paced split-screen editing, the stealth incursion into the bad guy’s lair, some staggering costumes for the ladies (none of which were particularly revealing, but still a retro joy to behold) and the requisite turncoat moment or two (to say who did it to whom would be telling). The soundtrack is a delight, a combination of Ritchie’s traditional amazing skill for picking existing songs, and a score chock fill of pan flutes and hammer dulcimers, the source of much of the music found in spy films in the sixties. But the film rises and falls on the chemistry between the stars.  Cavill and Hammer plays against each other perfectly, and both work well with Vikander.

As mentioned at the beginning, the only complaint one could have for the film is exactly how little a role U.N.C.L.E. itself actually plays in the film. Hugh Grant arrives in the third act as Alexander Waverly, here a member of British Intelligence, and it’s only at the very last moment of the film that the eponymous acronym is ever used, and even then, it’s made to sound like it’s going to be nothing more than a code name for the pair, um…team. I pretty much knew going in that we were going to be saddled with a “When they first met” movie, and we would have to sit there and wait for them to become the team we know with the same impatient frustration of sitting through Popeye, and just waiting for Robin Williams to eat the gorram spinach.  We didn’t get cameos by Robert Vaughn or David McCallum, I didn’t even see the U.N.C.L.E. special Walthers I thought I’d spied in the trailer.  I sat through the credits, hoping against hope they’d give us ONE tip of the hat, that iconic title card that made sitting through the TV show’s credit worth it every week.

Throw me a frikkin' BONE, here!

Throw me a frikkin’ BONE, here!

Happily, this was one of the few cases where I was able to put my feeling about missing what we didn’t get aside and just enjoy what we did get, because what we got was cherce.

Martha Thomases, Mistress of the Universe?

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It’s probably a good thing that I’m not in charge of the universe. Aside from the randomness of my whims, I am easily distracted by the shiny.

And I’m not good at debates. I froth at the mouth when I get angry, and my opinions require more evidence than I can supply in 90 seconds.

Still, I think political discourse is important. And, with a big election ahead of us next year, I think that comic book conventions might be good places to have it.

I’m not saying that we should invite more political candidates to comic book conventions. First, let’s invite more women and people of color and more LGBTQ creators. However, I do think that the people who shape our beloved medium have political (and moral and ethical) opinions that might be of interest to their fans, especially in regards to how these opinions shape their work.

Neither am I saying that panels should feature panelists arguing in favor one political party or another. Rather, let’s hear them talk about how issues – climate change, economic inequality, the Middle East, reproductive rights, the role of religion in the legal system, immigration – affect the kinds of stories they tell.

Decades ago, when I was first reading Philip K. Dick’s work, I remember being surprised by how many of his stories relied on the assumption that the temperature of the planet would rise drastically in the next century. This was long before the term “global warming” was a common expression in general discourse. It was an interesting nuance to his world-building: people had to stay indoors a lot more than they do today, and needed lots and lots more protective clothing. Later, I read a story of his that was very strongly anti-abortion. Politically, I disagreed with him, but it was still an interesting read. And it was a much more effective way to understand the positions of a person with whom I disagreed than the kind of screaming and yelling that passes as debate on our modern media.

Lots and lots of people who work in comics are progressives. Lots and lots are conservative. (If you click on that link, don’t read the comments. Really. Don’t read them.) For the most part, comic book fans are so used to being marginalized that we overlook these differences among ourselves to revel in the joy of finding others who like comics.

I think we can use this to our advantage in the marketplace of ideas.

The panels I imagine wouldn’t be intentionally slanted towards one position or another. The moderator wouldn’t have an agenda. Instead, creators would talk about how the issues of the day influence them creatively. I imagine this would mostly be about superhero comics, with their overlays of science fiction and fantasy. I may think that because of the Philip K. Dick stories I mentioned above.

Certainly, people who have rented booth space can express themselves in whatever ways the convention permits.  This isn’t even anything new. At all sorts of conventions, I’ve seen lots of items for sale that I liked and didn’t like. That’s cool. As long as I’m not personally hassled, I don’t care how anyone else spends their leisure time or dollars.

(Note: I consider myself personally hassled if someone shoots endangered species, describes another person only in relationship to that person’s sexual characteristics, or economically exploits people. I have boundary issues.)

The world is starting to notice that comic book fans are not all like the stereotypical fat kid living in his parents’ basement. As a group, we’re pretty well-educated and productive. We know things.

Let’s use these powers for good.

 

 

 

Tweeks: Disney Song Challenge D23 Edition

You may have seen the Disney song challenges by Tyler Oakley & Zoella, or Markiplier & Matthias, or Jon Cozart & Sound Proof Liz.  Those are cool and all, but since we are headed to D-23 Expo in Anaheim for a weekend of intense Disney/ABC/Marvel/Star Wars fandom, we need to know which Tweek is the biggest Disney Dork. Hence, the ultimate Disney song challenge where we hit shuffle on a giant playlist of Disney songs from movies, TV shows, rides, musicals…and even Marvel movies competing to name the song in 10 seconds.  First twin to 20 points gets bragging rights.  Who will it be?

#ThrowbackThursday: The Incredible Hulk vs The Ever Lovin’ Blue Eyed Thing

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Now this is the way you make a Fantastic Four movie.

Trivia: this 1983 fan film was produced by Bob Schreck, who later went on to a long career for DC, Marvel, Comico, and Dark Horse, and is now the editor-in-chief for Legendary Comics. You can see him in the background and the Wookie suit.

Yes, Wookie suit.

And the guy in the orange rocks? Why, that’s Gerry Giovinco, founder of Comico and the current CO2.

We would like to hold this up as a counterpoint whenever somebody says that all you need are people who know comics to make a good movie adaptation. Comics pros are just as capable of embarrassing themselves as anyone else.

We are also now taking bets as to whether this film will end up being more profitable than the FF film currently in theaters.

Dennis O’Neil: A Midsummer Night’s Disaster

fantastic-four-2202202If, as T.S. Eliot would have us believe, April is the cruelest month, what’s the other month that beings with A? Is August the ecch-est month? Here in our little baliwick – and yeah, I’m talking pop culture – there’s not a lot happening. The Baltimore comic convention isn’t until late September, and I can’t help wondering what effect, if any, the violence earlier this year will have on the show. None, I hope. I’ve always liked Baltimore.

Note: this does not mean that I wish civic unrest on towns I don’t like. Or any towns, period. It’s a cause for some uneasy notice in our house, this violence, because Marifran grew up in Ferguson when it was just another St. Louis bedroom community. This is the town, a bit west of St. Louis, where I picked up cute little Marifran McFarland for the Friday night movie ritual and returned her to her waiting father at midnight or thereabouts. Good Catholic kids – you weren’t going to catch us staying out till the wee hours. (Well, not then, and not in each other’s company.) So Marifran lived in Ferguson and it was, generally, a peaceful haven for middle class families.

Now? There was, one year ago, the shooting of an unarmed black kid by a white officer that precipitated riots and then, after an interval of apparent quiet, more unrest. The Ferguson news in the morning papers is not good.

But we were discussing ecchy August as it pertains to pop culture, weren’t we?  What else…? Movies? We’ve been dilatory theater goers of late, and I don’t exactly know why. It’s not like August – or July or June before it – has been egregiously busy. Fact is, thing’s have been kind of lazy. If its true that to get something done you should give it to a busy person, stay away from our door.

Not that we’ve been entirely remiss is our moviegoing. We did see Mr. Holmes, the story of the world’s greatest detective when he’s old and failing, and it was terrific. But the splashier entertainments, full of grandiose feats and explosions – you know: superheroes… those we’ve missed, at lest so far. We’ll probably catch Ant Man tomorrow. But chances are that The Fantastic 4 will have to find room on our television screen when it gets that far.

Bombed, didn’t it? Box office worse than The Green Hornet, which is nobody’s idea of filmic greatness. Reed and Sue and Ben and Johnny seem to be cinematically cursed. The two FF movies released in 2005 qnd 2007 did no better than okay and the FF movie before those never got to theaters. I have seen it and barely remember anything about it other than a general badness, One rumor, which I tend to believe, says that it was never intended for audiences, that it was hastily slammed together to satisfy a legal requirement. But what excuse can there be for later failures?

Let’s blame August.

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Comics Reviews (August 12th, 2015)

Years of Future Past #4

Rough going. There’s some novel plot twists, but everyone is such a cardboard cutout here that I have trouble caring. An exemplar of the sort of comic I really need to stop spending $3.99 on.

A-Force #3

Effective superheroics, with little more to be said. Art felt a bit uneven between two different inkers, and the plot is starting to lose me, though I’m not sure if that’s an A-Force problem or a Secret Wars problem. Either way, at best adequate.
Mercury Heat #2
Still not sparking; the underlying concepts are interesting, and get moments of good play, but I suspect this is one where I’ll like the second arc, once the cards are on the table, more than the process of laying them there. Luiza’s hatred for her own skillset is by far the most compelling aspect, but the book is being slow in establishing that in favor of a lot of worldbuilding, which isn’t bad, but isn’t quite amazing either.
Secret Wars #5

On the original release schedule, this sort of exposition slab of an issue, excluding almost all of the cast in favor of a tight focus on Doom and Valeria, would probably have been a bold and interesting more. Under the increasingly glacial pace of Secret Wars, I’m well past just checking my watch and wondering if it’s October yet, not least because the odds seem certain that the All-New All-Different Marvel relaunch will start before Secret Wars #8 ships.
Grant Morrison’s 18 Days #2

Morrison is now one of three writers, so we’re pretty clearly transitioning from stuff he actually did to stuff he at best has notes for. We’re also pretty clearly moving from where his overly elaborate work resetting the myth into a Jack Kirby knockoff is the focus to a retelling of a classic of world mythology. On the whole, then, an improvement.

Doctor Who: Four Doctors #1


An endearingly frothy summer event for Titan’s Doctor Who line. Cornell gets to business quickly and engineers a good cliffhanger, and the Keys of Marinus callback is a nice treat as well, but I’m less than convinced by his Tenth/Twelfth exchanges, which seem to capture neither Doctor particularly well. Still, fun. The “Clara is Slytherin” gag’s particularly nice. Edwards’s art is capable, though marred by occasionally excessive photoreference, which leads to a jarring difference between his everyday Tenth Doctor and the one who appears in a couple of close-ups. 
Doctor Who: The Eleventh Doctor #15

It feels like this comic has done a few climaxes more than is earned, but as the proper, final issue of Year One (and Ewing’s final bow on the title) it’s a good one that shows how well sketched this set of companions is. I don’t pretend to understand the Source anymore, but this was fun and moving, and really is one of the best runs of Doctor Who comics ever.
Stumptown #7
As is often the case with Stumptown, I suspect it will read better in trade, but this is a lovely and world-grounded PI yarn that hums along entertainingly before sparking with real charm at the end. I look forward to the inevitable double crosses and elaborate betrayals.
The Unbeatable Squirrel Girl #8

Very much what you’d expect from this comic, which is to say, hilarious brilliance. The bottom-of-page gags are such a small thing, but they really do add a sense of heft and size to the comic, and the sheer quantity of humor here really makes this a reliable treat. Glad it’s coming back in October.
Uber #27

Something between a final issue for the run of Uber that’s been going on so far and a #0 for the forthcoming second series, which features a major and intriguing change of focus. So far much of the book’s dark brilliance has come from its reworking of British war comics, but now there’s going to have to be a change in what sort of thing we talk about, and I’m interested in seeing how Gillen moves to a different comic tradition for the next arc. All very exciting stuff, in other words.
Phonogram: The Immaterial Girl #1

Gillen’s got a bit of an imperial phase going across the last two weeks, bringing Uber to a major break, kicking out a highly acclaimed one-shot of WicDiv, and now starting the last run of Phonogram, which is terribly beloved and terribly good as well. A bit outside of my wheelhouse; love the magic, but none of this is actually a musical touchstone for me, though it surely could have been for some alternate universe me. As a first issue, it’s in many ways a showpiece for McKelvie, who returns to old stomping grounds with new skill. Breaking from WicDiv for an arc to do this is shrewd as fuck. 
Providence #3

Moore casually and off-handedly reels out the sort of deft textual stunt that’s why he’s Alan Moore, suddenly bringing together strands of his own plot and Lovecraft’s original work in an unexpected and disturbing way. The issue’s a slow burn leading up to a scintillatingly good and ominous dream sequence. We’re ramping up to some real classics of Lovecraft, doing a one-two punch between this issue and next of “Shadow Over Innsmouth” and “The Dunwich Horror,” and the sense of scale is increasing nicely as well. One can only imagine where Moore intends to go over the next nine issues. 
Injection #4

Ellis finally kicks off here, which is consistent with the longform game he’s been playing with this phase of his career. I love the relationship between the past and history here, and the phrase “the speed of nature.” Shavley and Bellaire are doing phenomenal work here, capturing grandeur and weirdness in equal measures. The highlight of Ellis’s current batch of comics, this one. 

Originally published on PhilipSandifer.com.

Molly Jackson: Hmmm

Hmmm

A few days ago on the subway, I was sitting and playing Injustice: Gods and Monsters to pass the time until my stop. It’s a great game; I totally recommend it. As I was fighting along, I noticed that guy next to me was playing the very same game. No, I wasn’t looking over his shoulder; he had his arms stretched all the way out. I unintentionally made an audible “hmmm” to myself, which of course he heard, so I lifted up my phone for him to see. He proceeded to look away and hide his phone from me.

Now I personally don’t think I was being creepy, although it could be taken that way. And yes, he is totally in his rights to ignore me. To be honest, I wasn’t trying to get his attention. However, this got me thinking that this is a pattern I’ve noticed lately in the world around me. More and more, geeks (and the country) have been haters. Over the past week for example, we have rejoiced over the failure of Fantastic Four. While I might have issues with the why and how this movie got made, there has been some serious hate.

Geeks used to have to hide from the world. We were shunned and ignored. There were a few safe havens to find like-minded souls, like the local comic book store. Now, being geek is cool and to find someone in common takes a few clicks of a button. Comic books stores are starting to close in respond to online outlets and digital copies can be bought or downloaded illegally from anywhere. Geeks, who are traditional technology junkies, no longer need to find people to interact with.

I’m not saying the Internet is bad, or that we need a group hug. Sometimes I wish that people were more open to the world in front of them rather than on the computer screen. Take a look around once and a while and remind yourself that there are other people out there, not just usernames.

If there were to be a moral to this story, it might just be smile to the awkward geek on the subway. Or maybe it is to smile no matter what.

REVIEW: True Story

True StoryThe old Broadway song goes, “Two lost souls on the highway of life“and that certainly describes Christian Longo (James Franco) and Michael Finkel (Jonah Hill) in the thriller True Story. We open with Longo hiding in Mexico, wanted by police for the death of his wife and children, but avoiding arrest because he’s masquerading as Finkel, a reporter for The New York Times. Finkel, though, has issues of his own, having been accused of fabricating a story by writing about one character who was actually a composite of several sources.

When told of Longo’s eventual arrest, Finkel is curious as to why he chose him, of all people, to impersonate and so begins the meat of the fascinating narrative. Available on a Blu-ray combo pack from 20th Century Home Entertainment, the film is an interesting two man character study, leaving you wondering as to each person’s sincerity and even sanity.

The two men begin to meet and talk in Mexico, leading to a symbiotic relationship as Franco agrees to tell his story in exchange for writing lessons from the journalist. Their exchanges are taut, with a wide range of emotions on display, from suspicion to trust to friendship to apprehension.

For Finkel, he’s hoping for redemption while Longo is in for the fight of his life as he is extradited to America and stands trial for the horrendous crimes, leaving the viewer uncertain if he committed the crimes or not. The journalist takes their voluminous correspondence and gets a book deal, his road back to relevance. But everything is not as it seems and rather than spoil things, let me just suggest you rent or buy the video for your own edification.

The lead performances are strong and the two men are comfortable with one another so their exchanges ring especially true. While some of the dialogue by screenwriters David Kajganich and Rupert Goold, who also directed, isn’t the strongest, they make the most of their moments. For his first feature, Goold does a nice job with keeping a talky story visually interesting. Since this is clearly about two men, it was seemingly decided they needed some female presence so enter Finkel’s girlfriend Jill Barker (Felicity Jones), for a few scenes including one dramatic confrontation with Longo. But it all feels unnecessary.

What makes this all the more interesting is that it is based on Finkel’s book of the real world events that inspired the film. That’s right, this all happened.

The AVC encoded 1080p transfer to 1.85:1 is visually just fine along with the lossless DTS-HD Master Audio 5.1 mix so watching this is a pleasure.

Since the movie did well at Sundance but not so well in general release, we get just some perfunctory special features. Goold offers up some enthusiastic Audio Commentary for the entire film as well as some interesting explanations accompanying the Deleted Scenes (16:44). Then there are an assortment of promo features: Mike Finkel (3:33), Who is Christian Longo? (3:56), The Truth Behind ‘True Story’ (4:03), and The Making of True Story (5:26).

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