Terrible acting, screenplay and direction.

I don't have all the words right now but this film is a work of art.

This movie feels like it was made purely to piss off people who want good shows

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

A documentary on a former Miss Wyoming (Joyce Bernann McKinney) who is charged with abducting and imprisoning a young Mormon Missionary (Kirk Anderson).The film becomes the story: In November of 2011, Joyce McKinney filed a lawsuit against director Errol Morris. Filed with the Los Angeles Superior Court, McKinney claims that Morris and his producer Mark Lipson told her they were filming for a TV documentary series about the paparazzi. McKinney is suing on the grounds that she was defamed as the film portrays her as "crazy, a sex offender, an S&M prostitute, and/or a rapist." McKinney probably only helped the film with her lawsuit, if she had any effect at all. I do not feel they in any way defamed her, as they were merely reporting on the story and gave her ample time to give her version of events. A viewer is not left with any definite vision of who McKinney is or was.Further, I am confused how she thought this was solely about the paparazzi. I understand that she talks of being hounded, but she also talks at length about the Mormon case, her cloned dog and any other thing. Even if this went on a TV program about paparazzi, they would have to explain to audiences who she was. So by cooperating -- regardless of the focus -- she was the one bringing herself back into the public light.

Some people are serial fantastists, or serial self-publicists: it can be hard to tell the difference. Errol Morris' entertaining film 'Tabloid: Sex in Change' will seem familiar to anyone whose seen the (altogether more serious) film 'True Lies': in both cases, someone collaborates with a contemporary film-maker to tell "their story", even though the film-maker is able to simultaneously compile a large body of evidence to suggest that this story is utter tosh. The protagonists of both films could be considered con-artists, but if so, neither of them are exactly very good: in taking part in these films, they manage not to control the narrative, but to destroy themselves (although, if self-publicity is the aim, they do succeed, albeit in a peculiar fashion). Joyce McKinney's story (both the real one, and the one that she tells) is straightforwardly bizarre; while the linked tale of the behaviour of tabloid newspapers is predictably depressing, although one can't help but wonder whether or not Morris would have done better to let sleeping dogs lie (something McKinney didn't do when she had her dead pet cloned) rather than give the whole affair another publicising blast of the oxygen. It's hard to draw many conclusions from such a weird tale about the state of our society, or even about the interior workings of McKinney's mind; yet it's also impossible not to be entertained, albeit in a prurient way, by the extraordinary details of her tale.

By the last quarter of this turgid, unremitting virtual-monologue, I was in fear of losing my own marbles -- Joyce having clearly lost hers long ago. Pointing a camera at someone and letting them damn themselves with their own deluded waffle is not my idea of effective film making. Completely lacking in visual impact, this "film" might as well have been done on radio.The supporting cast of tabloid creeps interviewed herein are enough to make one's skin crawl. Exploiting a crazy lady is neither funny nor clever so quite why the guy from The Daily Mirror appeared to be so proud of his machinations is beyond me.I'd hoped for some deeper insight. I didn't get any. Only denial and madness. On this showing the woman needed to be sectioned. Too late now though. Far too late.

Some stories are so preposterous and delightfully astonishing that they have to be exposed to the masses. Such is the true tale of Joyce McKinney, the former beauty queen who hired a pilot to fly her and an accomplice, Keith May, to England to rescue her boyfriend, Kirk Anderson, from the clutches of the Mormon church. After bringing him to a rented cottage in Devon, where the refrigerator was stocked full of his favorite foods, she bound and seduced him. What ensued was three days of sex, food, and fun, to be forever known as "The Case of the Manacled Mormon". It sounds like every man's fantasy - a beautiful pageant princess waiting on you hand and foot, satisfying your every whim and fancy. However, Kirk, after reading about his own abduction in the newspaper, fled from his captors and alleged to the police a much different account of what happened. The all-American, charismatic blonde was arrested for kidnapping and raping the Mormon missionary and thrown in the slammer to await trial. The British tabloids had a field day with the bizarre incident.The Daily Express printed Joyce's side of the story while their rival, The Daily Mirror, delved deep into Joyce's past and uncovered lurid details of her moonlighting as an S&M model and dominatrix for hire, painting her as a manipulative Jezebel that cast a spell over all of the men she met. The accusation did ring true. She often referred to Keith May as her slave and she had another admirer willing to do anything she asked. Even Peter Tory, a reporter for The Daily Express, seems to have fallen for Joyce's delusion that she was simply a girl so profoundly in love with her boyfriend, she risked life and limb in order to save and deprogram him from a cult of polygamists.Unfortunately, Kirk Anderson declined to participate in Morris's documentary and Keith May passed away in 2004, but there is enough material to fill his absence, like Joyce's decision to travel to Seoul, South Korea to have her beloved rescue dog, Booger, cloned.The interviews with Joyce, Jackson Shaw (the pilot), Troy Williams (a former Mormon missionary), Peter Tory, Kent Gavin (photographer for The Daily Mirror), and Dr. Hong flow smoothly, with barely any interruption by Mr. Morris. The montage of animated newspaper clippings was a visual treat and the background music fit brilliantly, which normally goes unnoticed in a documentary. The star of the show is Joyce with her animated voice and emphasized gestures. She's a breed of crazy that is sometimes unsettling, sometimes funny, and always entertaining.