Synopsis
In what would cause a fantastic media frenzy, Clifford Irving sells his bogus biography of Howard Hughes to a premiere publishing house in the early 1970s.
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Cast
- Richard GereClifford Irving
- Alfred MolinaDick Suskind
- Marcia Gay HardenEdith Irving
- Hope DavisAndrea Tate
- Julie DelpyNina Van Pallandt
- Stanley TucciShelton Fisher
- David Aaron BakerBrad Silber
- Mamie GummerDana
- Zeljko IvanekRalph Graves
- Eli WallachNoah Dietrich
Recommendations
- 91
Entertainment Weekly
Gere is terrific at suggesting the kind of addictive cocktail of excitement, panic, chutzpah, creativity, and naked hunger for fame and megabucks that might inspire such big, fat lies. - 90
Newsweek
Comedy and suspense, satire and shame are all mashed together--with breezy confidence. - 88
Rolling Stone
Gere gives 'em the old razzle-dazzle with his roguish charm and sharp comic timing. The surprise is the unexpected feeling he brings to this challenging role. - 80
The Hollywood Reporter
Entertaining and piquant. The film does possess some of the bittersweet qualities that usually mark Hallstrom's films, but it's generally a tougher, more incisive work that ranks as one of his best. - 80
Variety
Lasse Hallstrom's breezy, fast-paced, somewhat loose-ended account of how he (Irving) did it offers a surprisingly layered vehicle for a maniacally conniving Richard Gere, backed up by a superb Alfred Molina as his accomplice. - 78
Austin Chronicle
The Hoax isn't Gere’s best movie (that honor will always and forever belong to "Days of Heaven"), but it might feature his best performance. - 70
New York Magazine (Vulture)
The movie is too long (nearly two hours), but the acting--Gere, Molina, the peerlessly edgy Hope Davis, Marcia Gay Harden as Irving's loopy Swiss-German painter wife--keeps you giggling. And the story has something up its sleeve--a dream finish. - 70
The New Yorker
Their kinship (Gere/Molina)--wholly unsexual yet lit, like that of Martin and Lewis, with an exasperated love--is the beacon of the movie, and it just about survives the lengthening shadows of the later scenes.
