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David Fincher is back and continues his intelligent and razor sharp ramble down through the sinister and seductive thriller universe...
Back in 1995 the talented director truly showed his audience how to make a genuine crime thriller, with the unpleasantly pleasurable 'Se7en', and later how to let deeply dark humour flow unhindered together with some of the same elements in the movie 'Fight Club'. But it was not until 2007 that Fincher returned to the despicably decent entertainment with the murder thriller 'Zodiac'. It is also as clear as filtered blood (that is as clear as it gets for Fincher-films…), to see Fincher’s love for movies with a complicated plot and a sophisticated ensemble of star actors who competently awaken the sharply written script pages and bring them to life. David Fincher has also made the decision to remain in the same territory of genre throughout a big portion of his films, and while ‘Gone Girl’ suggests a recognizable set-up, it is a different and far more experimental Fincher who comes out on the other side...
The Story
'Gone Girl' is based on the novel by Gillian Flynn, and is centres around two writers, Nick and Amy, who meet at a party in New York. They quickly fall for each other and their relationship seems to develop into something truly special. But as the couple's love for each other is put to the test over time, a noticeable distance between them starts to arise. Their relationship gradually begins to splinter, only to collapse into small illegible fragments, which makes it even harder to save what Nick and Amy once had – or did they in fact even have anything to begin with? The questions remains without a clue until but one day, when Amy mysteriously disappears and it suddenly becomes tougher and more difficult for Nick to keep the dark secrets hidden, and both the media storm and police investigation slowly works itself closer to revealing the terrifying truth about this couple's complex relationship.
David Fincher is back home once again in familiar and comfortable surroundings, though this time the subject matter is marginally more abstract and twisted than previously seen. 'Gone Girl’ is an (un)pleasantly satisfying breath of originality, from a director who perhaps wasn’t exactly in shortness of breath, as he delved deeper into the criminal underworld – far from it actually – but still in some way needed to come up to the surface to breathe in fresh new ideas. Fincher is still one of the most consistent directors working today, and his high level of quality isn’t exactly what you would call “hard to spot”. The familiar dark and sadistic atmosphere is not to be mistaken nor is it an area he ever failed in.
It has certainly been a pleasure to follow Fincher’s successful career being pushed out into the world with steady and controlled hands, although you might miss a reunification with the more experimental and playful side of the director, as we are familiar with from 'Fight Club'. It doesn’t have to be the gigantic homecoming, if just Fincher once in a while would poke his head out from the darkness, and simply move the foundation around a bit, just for the heck of it. It appears, however, that the director himself has also longed for exactly that, because with ‘Gone Girl’, it finally seems like Fincher has found the motivation to open up wide for a lovely smile, even when it is time to get some teeth pulled!
The tone of the film may at first glance seem strangely imbalanced, with the style of storytelling coming off almost surreal in its approach. All you need is a little time to click with Gillian Flynn's uniquely written script and its dominant novelistic monologues, before you can ultimately enjoy the undeniable beauty, among hidden tragedies. But just as one feels like finding both tone and approach, it doesn’t take long before you need to restart the search all over again. 'Gone Girl’ is constantly evolving through every second of its 149 minutes, and there is an interesting mind game going on of which you never get tired of playing. It is obvious that a few chances has been taken with this film, and it is wonderful to see that Fincher isn’t one tiny bit afraid to do some experimenting even this far into his successful career. Besides the atmospheric shifts of the film, there are also plenty of shifts in time. And while the extensive gaps of time aren’t executed as elegantly as it was the case with Fincher’s 'The Social Network', it is still a well-functioning composition of a story, which already doesn’t belong in the category labelled "standard movie material".
‘Gone Girl’ is a bloodcurdling affair, but nonetheless, in the end you will eventually take off your hat and bow to Fincher’s brain-wrenching psychological “game of guesses” – it is a wild, strange and almost psychotic kind of character study, while also being a textbook example of well planned and thoughtful plotting – and yet, still damn good entertainment! A date movie that has had its very heart turned inside out and brutally beaten beyond recognition. But if only you see it all from just the right angle, then you might spot the little hints of a tender and quite perfect marriage – but most certainly also the complete and absolute opposite.
The Acting
The role of the main character was reportedly given to Ben Affleck because he himself has had his fair share of frightening experiences, with unacceptable harassment from the media and extremely disturbing attacks on his private life. Affleck also does a fine job in the role of Nick Dunne, but as always he seems a bit too faceless and restrained. To me Affleck’s acting has always been a bit too wooden for me. Obviously the role doesn’t ask for you to excessively and inappropriately swing your arms around all over the place, expressing ones feelings with the outside instead of the inside, but not even his inner struggle shines well enough through in his performance. In contrast, Nick Dunne’s anniversary associate and adversary, Rosamund Pike, does an absolutely phenomenal job in the role of the infamous "Gone Girl". Honestly, I hadn’t heard or seen much of her before this film, but now I will surely never forget her. It is an achievement I hardly want to go into details with, since the effectiveness depends heavily on the element of surprise and the audience's own interpretation of the character.
Neil Patrick Harris is also to be found in the movie, which might sound like a strange casting choice, but I can tell you that it is working on a tolerable level without being truly admirable or truly awful. Another odd choice is the role of the lawyer, Tanner Bolt, played by Tyler Perry; an actor best known for jumping in women’s clothing and acting like a complete clown. Here, he brings a sophisticated ambience to the film, and he doesn’t hesitate bringing some sharp remarks to the table either. Carrie Coon is another actor that totally and impressively took me by surprise, in the role of Nick’s sister, Margot Dunne. There is not much negative to say about the acting in the film and in general the level is really high as it is often the case with David Fincher movies.
The Visuals
Fincher's films are always a wild experience to disappear into, and often it is due to the sublime visual aspect, which easily and efficiently follows the storyline hand in hand. 'Gone Girl’ is, like its two predecessors, a perfect collaboration between Fincher and favourite photographer, Jeff Cronenweth. It is evident to spot all the distinctive fingerprints across every surface and in each and every corner of the film, left behind by both director and photographer. Fincher's latest film is also keeping up with the usual nighttime strolls, down the familiar gloomy and yellowish paths that we have come to know so well from his previous works. Certainly, it is a very appropriate atmosphere that is created, but this is also an area where Fincher has made the choice not to renew himself all that much. The editing on the other hand, has always felt fresh and creative in Fincher’s films, and there is a scene in particular that comes to mind involving a bed, some intense romance, and an item not usually common in or even around a bed – that scene is directed and edited in such a breathtaking and shocking manner, that whatever room might be left for improvement, is pretty much filled up to the brim here.
The Soundscape
As it was the case with the visuals, Fincher has also made the decision to turn towards some recognizable pitches when the soundtrack was to be constructed. The dynamic duo, Trent Reznor and Atticus Ross, were behind the soundtrack to both 'The Social Network' and 'The Girl with the Dragon Tattoo', and therefore it was almost predestined that they were to help with an instrument (or many) in the sound mix for Fincher's latest film. The soundtrack is a phenomenal composition of “pleasant unpleasantness” and transfers smoothly to the same tonal dilemmas as the story holds. You never know quite what to do with yourself when the soundtrack really begins to almost demand its hold, and as is the case with the story, one is never truly sure whether or not the soundtrack aims for the lightness or for the darkness. These mysterious and quite mesmerizing notes play perfectly alongside the story of the film, and give the audience's inner ear their very own mystery to solve. The soundtrack is almost an experience in itself, which surprisingly manages to be discreet and dominant at the same time.
SHORT SUMMARY 'Gone Girl’ is a film you are guaranteed to want to disappear into, even if it may be far from your usual movie watching habits. The film has enough mystery and sharp turns to leave you tossing and turning in the cinema seat up to several times, and it is certainly also a movie that will make you think twice about entering into a marriage with the "woman of your life " – You have been warned…
overall rating:
Movie Review: Gone Girl (2014)
David Fincher is back and continues his intelligent and razor sharp ramble down through the sinister and seductive thriller universe...
Back in 1995 the talented director truly showed his audience how to make a genuine crime thriller, with the unpleasantly pleasurable 'Se7en', and later how to let deeply dark humour flow unhindered together with some of the same elements in the movie 'Fight Club'. But it was not until 2007 that Fincher returned to the despicably decent entertainment with the murder thriller 'Zodiac'. It is also as clear as filtered blood (that is as clear as it gets for Fincher-films…), to see Fincher’s love for movies with a complicated plot and a sophisticated ensemble of star actors who competently awaken the sharply written script pages and bring them to life. David Fincher has also made the decision to remain in the same territory of genre throughout a big portion of his films, and while ‘Gone Girl’ suggests a recognizable set-up, it is a different and far more experimental Fincher who comes out on the other side...
The Story
'Gone Girl' is based on the novel by Gillian Flynn, and is centres around two writers, Nick and Amy, who meet at a party in New York. They quickly fall for each other and their relationship seems to develop into something truly special. But as the couple's love for each other is put to the test over time, a noticeable distance between them starts to arise. Their relationship gradually begins to splinter, only to collapse into small illegible fragments, which makes it even harder to save what Nick and Amy once had – or did they in fact even have anything to begin with? The questions remains without a clue until but one day, when Amy mysteriously disappears and it suddenly becomes tougher and more difficult for Nick to keep the dark secrets hidden, and both the media storm and police investigation slowly works itself closer to revealing the terrifying truth about this couple's complex relationship.
David Fincher is back home once again in familiar and comfortable surroundings, though this time the subject matter is marginally more abstract and twisted than previously seen. 'Gone Girl’ is an (un)pleasantly satisfying breath of originality, from a director who perhaps wasn’t exactly in shortness of breath, as he delved deeper into the criminal underworld – far from it actually – but still in some way needed to come up to the surface to breathe in fresh new ideas. Fincher is still one of the most consistent directors working today, and his high level of quality isn’t exactly what you would call “hard to spot”. The familiar dark and sadistic atmosphere is not to be mistaken nor is it an area he ever failed in.
It has certainly been a pleasure to follow Fincher’s successful career being pushed out into the world with steady and controlled hands, although you might miss a reunification with the more experimental and playful side of the director, as we are familiar with from 'Fight Club'. It doesn’t have to be the gigantic homecoming, if just Fincher once in a while would poke his head out from the darkness, and simply move the foundation around a bit, just for the heck of it. It appears, however, that the director himself has also longed for exactly that, because with ‘Gone Girl’, it finally seems like Fincher has found the motivation to open up wide for a lovely smile, even when it is time to get some teeth pulled!
The tone of the film may at first glance seem strangely imbalanced, with the style of storytelling coming off almost surreal in its approach. All you need is a little time to click with Gillian Flynn's uniquely written script and its dominant novelistic monologues, before you can ultimately enjoy the undeniable beauty, among hidden tragedies. But just as one feels like finding both tone and approach, it doesn’t take long before you need to restart the search all over again. 'Gone Girl’ is constantly evolving through every second of its 149 minutes, and there is an interesting mind game going on of which you never get tired of playing. It is obvious that a few chances has been taken with this film, and it is wonderful to see that Fincher isn’t one tiny bit afraid to do some experimenting even this far into his successful career. Besides the atmospheric shifts of the film, there are also plenty of shifts in time. And while the extensive gaps of time aren’t executed as elegantly as it was the case with Fincher’s 'The Social Network', it is still a well-functioning composition of a story, which already doesn’t belong in the category labelled "standard movie material".
‘Gone Girl’ is a bloodcurdling affair, but nonetheless, in the end you will eventually take off your hat and bow to Fincher’s brain-wrenching psychological “game of guesses” – it is a wild, strange and almost psychotic kind of character study, while also being a textbook example of well planned and thoughtful plotting – and yet, still damn good entertainment! A date movie that has had its very heart turned inside out and brutally beaten beyond recognition. But if only you see it all from just the right angle, then you might spot the little hints of a tender and quite perfect marriage – but most certainly also the complete and absolute opposite.
The Acting
The role of the main character was reportedly given to Ben Affleck because he himself has had his fair share of frightening experiences, with unacceptable harassment from the media and extremely disturbing attacks on his private life. Affleck also does a fine job in the role of Nick Dunne, but as always he seems a bit too faceless and restrained. To me Affleck’s acting has always been a bit too wooden for me. Obviously the role doesn’t ask for you to excessively and inappropriately swing your arms around all over the place, expressing ones feelings with the outside instead of the inside, but not even his inner struggle shines well enough through in his performance. In contrast, Nick Dunne’s anniversary associate and adversary, Rosamund Pike, does an absolutely phenomenal job in the role of the infamous "Gone Girl". Honestly, I hadn’t heard or seen much of her before this film, but now I will surely never forget her. It is an achievement I hardly want to go into details with, since the effectiveness depends heavily on the element of surprise and the audience's own interpretation of the character.
Neil Patrick Harris is also to be found in the movie, which might sound like a strange casting choice, but I can tell you that it is working on a tolerable level without being truly admirable or truly awful. Another odd choice is the role of the lawyer, Tanner Bolt, played by Tyler Perry; an actor best known for jumping in women’s clothing and acting like a complete clown. Here, he brings a sophisticated ambience to the film, and he doesn’t hesitate bringing some sharp remarks to the table either. Carrie Coon is another actor that totally and impressively took me by surprise, in the role of Nick’s sister, Margot Dunne. There is not much negative to say about the acting in the film and in general the level is really high as it is often the case with David Fincher movies.
The Visuals
Fincher's films are always a wild experience to disappear into, and often it is due to the sublime visual aspect, which easily and efficiently follows the storyline hand in hand. 'Gone Girl’ is, like its two predecessors, a perfect collaboration between Fincher and favourite photographer, Jeff Cronenweth. It is evident to spot all the distinctive fingerprints across every surface and in each and every corner of the film, left behind by both director and photographer. Fincher's latest film is also keeping up with the usual nighttime strolls, down the familiar gloomy and yellowish paths that we have come to know so well from his previous works. Certainly, it is a very appropriate atmosphere that is created, but this is also an area where Fincher has made the choice not to renew himself all that much. The editing on the other hand, has always felt fresh and creative in Fincher’s films, and there is a scene in particular that comes to mind involving a bed, some intense romance, and an item not usually common in or even around a bed – that scene is directed and edited in such a breathtaking and shocking manner, that whatever room might be left for improvement, is pretty much filled up to the brim here.
The Soundscape
As it was the case with the visuals, Fincher has also made the decision to turn towards some recognizable pitches when the soundtrack was to be constructed. The dynamic duo, Trent Reznor and Atticus Ross, were behind the soundtrack to both 'The Social Network' and 'The Girl with the Dragon Tattoo', and therefore it was almost predestined that they were to help with an instrument (or many) in the sound mix for Fincher's latest film. The soundtrack is a phenomenal composition of “pleasant unpleasantness” and transfers smoothly to the same tonal dilemmas as the story holds. You never know quite what to do with yourself when the soundtrack really begins to almost demand its hold, and as is the case with the story, one is never truly sure whether or not the soundtrack aims for the lightness or for the darkness. These mysterious and quite mesmerizing notes play perfectly alongside the story of the film, and give the audience's inner ear their very own mystery to solve. The soundtrack is almost an experience in itself, which surprisingly manages to be discreet and dominant at the same time.
SHORT SUMMARY 'Gone Girl’ is a film you are guaranteed to want to disappear into, even if it may be far from your usual movie watching habits. The film has enough mystery and sharp turns to leave you tossing and turning in the cinema seat up to several times, and it is certainly also a movie that will make you think twice about entering into a marriage with the "woman of your life " – You have been warned…
overall rating: