Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

This is an astonishing documentary that will wring your heart while it bends your mind

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

This is a gorgeous movie made by a gorgeous spirit.

This movie was an awful attempt to relive the beauty that was the movie "Amelie", ain't happening. Avoid this movie if you are an Amelie fan, all it will do is depress you to see our beloved Amelie 10 years older and trying to relive the glory of the past. OK it's making me write more, sorry to bore you with more text than necessary, but here goes. The plot was OK for about 20 min, though it was sad to see Amelie reborn as a tired worn out character who has had probably gone through 100 boyfriends by this point (this time she is named "emilie"). then it dragged and dragged until the writers found a way out of the mess they had created and just ended the story with a denouement and put us all out of our misery :)

The first impression of this movie is of a pretty little French film with a very pretty little Audrey Tautou playing a character called Emilie. And if that doesn't remind you of the French classic Amelie, nothing will.So far, so good.One day, Emilie receives a romantic letter from co-worker Jean (don't get excited, Jean is a guy's name in France). However, as the letter is sent anonymously, Emilie bins it, assuming it to be from some crazy old customer.A little later, Emilie realises that her mother is very depressed about her love life, which will only be made worse when she finds out her father is planning to remarry. And so, Emilie innocently decides to pass on the love letter to her mother to cheer her up… …obviously nothing could possibly go wrong. Until her mother gets upset that a second letter hasn't been sent… This film had all the ingredients to be a really nice film (i.e. Audrey Tautou), but as it progresses any trace of innocence is stripped away layer by layer. By the time we reach the end, the lies being told have nothing remotely "beautiful" about them. They're just cruel and twisted.First impressions can be deceiving.

Pierre Salvadori is unfortunately really under-appreciated; he is a master in the class of Lubitch to whom he pays an ever-developing homage, it is just that, and here is my claim why, it is Lubitch crossed with lacanian psychoanalysis. This may seem extravagant, yet hear me out.In his previous feature, "Priceless", what was really, truly new in the genre of frothy french comedies, to call them that hazy category, is that the seduction usually displayed in a telling french manner, was turned on its head. The french theoretician of seduction Jean Baudrillard has devoted a whole book on this, the most sublime order that dares defy even desire in its heightening of ritual and artifice, to put it in a very abbreviated form.Yet Salvadori gave a coup to that: in the final spin of "Priceless" he exposed that you can seduce the other after your hesitating partner asked you so, and this is a proof of love; but this does not work the other way round. This is a great, dialectic demonstration of love. For me, it made me wonder, after such an achievement where would Salvadori go, for after such a score it is difficult to avoid artistic regression.Nothing to worry about, "Some True Lies" are here, giving us the next spin in the spiral, that is in order to love one has to seduce the other, but how literally is one to take this? Do I have to literally seduce your mother, the other par excellence, in order to get through to you? The cast is excellent (even though I think Tautou has slightly misconceived the tone she has to strike for her role), especially in the light of the excellent Bouajila and Bayer; they are truly something, some true actors.Some complain, or stand halfway to embarrassment that the film lacks class, and smells too much of TV production values; I was a bit shocked in the beginning, too, but the film is shockingly economic in a way, but when halfway in the film we witness the theater of shadows (I won't spoil it) this marks true sophistication, for the reason also that after that the film does not shy away from complexity but it is exactly then that the mother emerges in all her real, symbolic, imaginary faces and Bouajila follows the scenario's cue with finesse.Never vulgar, self-excusing or indulging, gracefully simple and cutting, this is a true achievement. I watched it twice in a row, fascinated by its crystal clear structure and magisterial, even haughty in the final chapter, rhythm, that risks go unperceived. The end, with its fake abruptness (which was a true celebration of the image of the mother cut loose at last), and the closing credits with its peculiar evocation of high-school french series from the nineties, verified in a way that this is a film we may have to catch up with in subtle departments.Thank you, monsieur Salvadori et merci.

As usual I won't try to resume the story since so many have done so and much better I'd put it. But our group of Six, three couples enjoyed it thoroughly. We've seen Audrey Tautou in quite a few movies by now and yes we did laugh a lot and sometimes loud. So if some reviewers want to put it down so be it but I think it should not deter anyone else to be well entertain. I get a little amused when I see some of those critics about the story falling in "very predictable" along other criticism. But I seem to remember in my early years around Paris going to the "Comedie Francaise" with our class, and for a "penny" thus perched on the very top of the theater we would laugh our belly out watching plays like "Tartuffe" sometimes corny to the most and predictable to no end but always very funny. Don't quote me on Moliere's Tartuffe as it is simply one of the play title I just remember. The point these were masters plays and their "farces" were very funny too. Although I'm sure one could just as easily pull them a part. Going back to "Beautiful Lies" (and why this language decided this tittle against the French literal translation " 'Some' True Lies)? I think it sustained a good pace and good timing to let us appreciate the humour. I, perhaps, would have like a more speedy and decisive ending once everyone knew what really had happened - however this really would only apply to the last ten minutes. Don't fear go and see it. It'll take your trouble away for the duration!