The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Spoiler Alert! Stupid documentary! Waste of time! No happy ending. A 23 year old Frenchman lied about being a 16 year old missing American. This show is a complete waste of time. There wasn't any Twist. We figured that the Frenchman was lying from the beginning, and it was revealed that we were right at the end.

This film is exploitative dramatization. I need to write four more lines for this to be submitted. Documentary films should present the facts. People should be allowed to decide for themselves. This film twists and turns a very sad story into something completely detached from reality.

This is one of those flicks that I think I have seen before or rather tried to watch before but could not finish it. Well, it happened again. For the life of me I cannot fathom how these people fell for this fraud. I really don't. It is not like Six Degrees of Separation. It is not like the whole town did not know what Nicholas looked like. I don't care what kind of sex slave you were, your eyes do not change from blue to brown and you don't end up with a French accent having been abducted to Spain either.As for the real Nicholas, why does a 13-year-old have so many tattoes and how in less than 24 hours, did the impostor get them made to match with no scarring or anything by the time the sister arrived? And the sister said he had said kiss my ass to the family and run away for a day or two several times before - a little kid?I don't know. I just don't know. But I cannot finish the movie. IT hurts too much to see the family falling for this guy.

To portray historical facts in cinema opens, usually, a delicate tension between the limits of dramatic effect and reliability of past events.Evidently, as the Luis Borges map drew attention, a representation is incapable of disclose the truth nature of a real object. However, a film, per si, do not should be purely objective, but rather pay attention to subjectively dramatic dimension.The issue of balance, therefore, it is stated by the very nature of the movie art. Lapidary carefully the limits of the intelligible and dramatic becomes, therefore, the very craftsmanship of the director. The question becomes more spicy as it brings into play a major limiter of the fictional liberty, that is, the need to narrate the reality without the direct filter of dramaturgy. Within this context, THE IMPOSTER has the exceptional merit of building a charged voltage narrative, which takes a surprisingly suggestive dramatic reversal, concluding with open elements a documentary narrative. More important, everything is just right, without sacrificing the dramatic element. It is to say, extraordinary events combined with a careful and progressive narrative results in a sweeping documentary.As for the actual content of the film, it is, however, the story of a succession of misunderstandings carved by a talented swindler of only 23 years. There is no mention of a great moral or social issue.The incredible story of a master forger do not initiates a deeper debate about immigration policies, or social inequality, the problems of investigative policy of various institutions, etc. It solely – and with indisputable merit – offers a dose of enchantment from incredible and improbable facts, coupled with a dubious criminal investigation.