A twisty true-crime story loses much of its appeal in Ursula Macfarlane's The Lost Sons, a "who am I?" doc whose subject is more fascinated with that question than most viewers will be.
Paul Fronczak was ten years old when he learned he had been the victim of a foiled newborn abduction; only decades later did he realize his story was even more convoluted.
Though well shot, the CNN-coproduced film always feels TV-grade at best; its level of drama (not to mention its failure to find anything universal in the specifics of Fronczak's tale) is out-of-place on a festival schedule, even in a year of diminished options.
In 1964, Fronczak's mother Dora had just enjoyed her first visit with her new baby in Chicago's Michael Reese Hospital when a.
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