Wormwood: it doesn’t really matter, ultimately, if the story told by Errol Morris in this documentary is fully the truth or not; Eric Olson, by all accounts, is convinced that it is, and that makes this enthralling to watch. It certainly seems too incredible to be true, but that doesn’t mean it is not; cover-ups, after all, are not entirely unheard of. Morris uses every trick in the book: the interviewees are intelligent, articulate, and give interesting interviews; there’s a wealth of archival material, both personal to the Olson family and public, which enrich and give historical context and evidence to the narrative. In addition, the film has many (speculative) reenactments, which are very richly made. Those are shot (by cinematographers Ellen Kuras and Igor Martinovic) with peculiar, weird framing, which increase the sense of uneasiness; the production values of those is quite good. In addition, the interviews are shot with a great variety of shots, which both gives some visual variety to them and matches the sense of paranoia that underlines the whole as the interviewees are seen from every possible angle. Paul Leonard-Morgan’s musical score likewise works very well in raising the tension. Editor Steven Hathaway’s makes liberal use of split-screen, an interesting choice.