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“The Armstrong Lie,” Alex Gibney’s absorbing but overlong documentary portrait of Lance Armstrong, begun after he won the Tour de France seven consecutive times (1999-2005), Mr. Armstrong exhibits an unwavering poise and an almost robotic self-possession and air of superiority, with barely discernible blips of defiance and irritation. In the face he presents to the camera, he is still a winner, despite having been stripped of his titles for doping. The clench of his jaw, his inscrutable gaze and the steady tone of voice suggest a star ensconced within the bubble of his celebrity. Even his admissions about the performance-enhancing drugs that helped enable his victories sound like the pro forma gestures of an athlete determined never to lose his cool in front of the camera.

The film was started in 2008, the year before Mr. Armstrong’s return to competitive cycling after a three-year retirement, and was all but completed a few years later. Filming resumed hours after his January 2013 television interview with Oprah Winfrey, in which he admitted doping. In the footage Mr. Gibney initially shot, Mr. Armstrong lied about taking drugs. That’s one reason “The Armstrong Lie” feels like two movies — a before and after — roughly stitched together..

“The Armstrong Lie,” Alex Gibney’s absorbing but overlong documentary portrait of Lance Armstrong, begun after he won the Tour de France seven consecutive times (1999-2005), Mr. Armstrong exhibits an unwavering poise and an almost robotic self-possession and air of superiority, with barely discernible blips of defiance and irritation. In the face he presents to the camera, he is still a winner, despite having been stripped of his titles for doping. The clench of his jaw, his inscrutable gaze and the steady tone of voice suggest a star ensconced within the bubble of his celebrity. Even his admissions about the performance-enhancing drugs that helped enable his victories sound like the pro forma gestures of an athlete determined never to lose his cool in front of the camera.

The film was started in 2008, the year before Mr. Armstrong’s return to competitive cycling after a three-year retirement, and was all but completed a few years later. Filming resumed hours after his January 2013 television interview with Oprah Winfrey, in which he admitted doping. In the footage Mr. Gibney initially shot, Mr. Armstrong lied about taking drugs. That’s one reason “The Armstrong Lie” feels like two movies — a before and after — roughly stitched together..

“The Armstrong Lie,” Alex Gibney’s absorbing but overlong documentary portrait of Lance Armstrong, begun after he won the Tour de France seven consecutive times (1999-2005), Mr. Armstrong exhibits an unwavering poise and an almost robotic self-possession and air of superiority, with barely discernible blips of defiance and irritation. In the face he presents to the camera, he is still a winner, despite having been stripped of his titles for doping. The clench of his jaw, his inscrutable gaze and the steady tone of voice suggest a star ensconced within the bubble of his celebrity. Even his admissions about the performance-enhancing drugs that helped enable his victories sound like the pro forma gestures of an athlete determined never to lose his cool in front of the camera.

The film was started in 2008, the year before Mr. Armstrong’s return to competitive cycling after a three-year retirement, and was all but completed a few years later. Filming resumed hours after his January 2013 television interview with Oprah Winfrey, in which he admitted doping. In the footage Mr. Gibney initially shot, Mr. Armstrong lied about taking drugs. That’s one reason “The Armstrong Lie” feels like two movies — a before and after — roughly stitched together..

“The Armstrong Lie,” Alex Gibney’s absorbing but overlong documentary portrait of Lance Armstrong, begun after he won the Tour de France seven consecutive times (1999-2005), Mr. Armstrong exhibits an unwavering poise and an almost robotic self-possession and air of superiority, with barely discernible blips of defiance and irritation. In the face he presents to the camera, he is still a winner, despite having been stripped of his titles for doping. The clench of his jaw, his inscrutable gaze and the steady tone of voice suggest a star ensconced within the bubble of his celebrity. Even his admissions about the performance-enhancing drugs that helped enable his victories sound like the pro forma gestures of an athlete determined never to lose his cool in front of the camera.

The film was started in 2008, the year before Mr. Armstrong’s return to competitive cycling after a three-year retirement, and was all but completed a few years later. Filming resumed hours after his January 2013 television interview with Oprah Winfrey, in which he admitted doping. In the footage Mr. Gibney initially shot, Mr. Armstrong lied about taking drugs. That’s one reason “The Armstrong Lie” feels like two movies — a before and after — roughly stitched together..

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