The Invention of Lying

The Invention of Lying was always going to draw its own obvious comparisons with 'Liar Liar'. For me however, the biggest similarity is a more unusual one; both films share the same annoying plot hole. Unfortunately, Hollywood seem yet to realise that the principle of 'only being able to tell the truth' doesn't mean that everyone is compelled to say everything that pops into their head. Sadly for scriptwriters, it seems to be a rather inconvenient reality that it is actually technically possible to just not say anything at all. But then where would all the cringe-worthy misunderstanding-based situation comedy be in that?

As titles go, The Invention of Lying does a rather Ronseal job of explaining its own plot line. Sadly, that doesn't halt the apparent need for about 20 minutes of 'set up' so we can fully be introduced to the concept. Unnecessary as it may seem, its inclusion does allow for a series of short, lie-based sketches, whose single purpose seem to be to allow Ricky Gervais to dip into his American friendly little black book to create an on-screen party for all his new friends. Indeed, the resulting treat features a succession of hilariously big name cameos from the likes of Edward Norton, Philip Seymour Hoffman, Tina Fey and Jason Bateman (to name just a few), with each granted just three minutes of comedic screen-time to help establish a principle that can be summarised in three words.

Even a $18.5m film can be a vehicle for Ricky Gervais' ego. New double glazing anyone?

The film itself is easy-watching enough. The story follows a series of deliberately obvious religious parallels, dealt with in an oddly inoffensive fashion for Gervais, that was presumably done so as not to anger middle America. That said, his influences are most certainly felt elsewhere, as no Ricky Gervais film would be complete without twenty second appearances from both Stephen Merchant and Shaun Williamson.

Although the comedy is slow and gentle, it does manage to chalk up more hits than misses, and can at least claim to be pretty unrelenting throughout. That said, the end does feel rather damp, with the storyline tying itself up in a neat, predictable little bow almost either side of a single heartbeat. It's that lack of comedy crescendo that just adds further conviction to the feeling that this film is probably just a subdued version of Gervais' original fun-poking vision, watered down to ensure the maximum appeal and the lowest number of cinema-going 'casualties'. And whilst they have undoubtedly been successful in limiting that level of  severe offensiveness, the comedy backbone of the film is just too badly compromised, and the cheeky appeal that comes with a name like Ricky's is all but lost.