Directed by:
David FincherScreenplay:
Gillian FlynnCinematography:
Jeff CronenwethCast:
Ben Affleck, Rosamund Pike, Neil Patrick Harris, Tyler Perry, Carrie Coon, Kim Dickens, Patrick Fugit, David Clennon, Lisa Banes, Missi Pyle, Emily Ratajkowski (more)VOD (2)
Plots(1)
GONE GIRL unearths the secrets at the heart of a modern marriage. On the occasion of his fifth wedding anniversary, Nick Dunne (Ben Affleck) reports that his beautiful wife, Amy (Rosamund Pike), has gone missing. Under pressure from the police and a growing media frenzy, Nick's portrait of a blissful union begins to crumble. Soon his lies, deceits and strange behavior have everyone asking the same dark question: Did Nick Dunne kill his wife? (20th Century Fox)
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Reviews (19)
Even though David Fincher is my favourite, Gone Girl didn't get me as much as with Zodiac, Se7en or Fight Club, which are a level above. What bothered me about Gone Girl at first was Ben Affleck, I don't like him, and the excessive running time is a bit tiresome for such a genre film. Luckily after an hour and a half there is a great twist that lifts the bored man out of his seat and it was the real Fincher! Perfect intelligent dialogues, one over the top gore scene and a solid climax that convinced me that Gone Girl deserves four stars without a doubt, even if the first half is significantly weaker. Women really are bitches. 75%
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This seemingly careless directorial style, in which every scene has its place, is slowly starting to bother me. Because it has never been as impersonal in David Fincher's interpretation as it is here. And if a dramatic thriller, whose essence lies in relationships, lacks even a hint of chemistry or tangible emotions between Nick and Amy, that's a disappointment. And if they also lack it in those moments when they are supposed to be a couple in love or overflowing with hatred, I realize that I am not getting nearly as much as I would like – and probably should, considering the topic. The complicated journey of the lost girl and the people around her is significantly less sophisticated or surprising than it promises most of the time. Relationships may be hard work and a science – but they're definitely not like this.
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I haven't seen a movie this suspenseful in a long, a truly long time. It's so terribly suspenseful that after the first line I was ready to rewind the film to the end to see how it would turn out. It blends so many things that I love in movies. Unexpected twists and turns, engaging narration from the main heroine, and... one big game. And the best part is the insightful, even clinical way in which it's filmed. I have no complaints about the cast either. I'm simply and plainly blown away and if anyone asks me for a movie recommendation this year, this one will immediately jump out at me. Anyway, I'm off to buy the book this weekend. 5 stars.
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Who wouldn't want to open their wife's skull and see what's going on inside it? Best Fincher since 2007. Especially the first half is brilliant. The way in which Fincher managed to elegantly embody two unreliable book narrators into exciting cinematic speech is worthy of (un) academic admiration. Especially since the film does not achieve the stratification and urgency of the book, but it is able to balance it with predatory irony and scathing exaggeration. Criticism of the crises of a troubled society, which is oriented only by reflections and media images, is carried out with ease and without any lameness. I have problems more so with the second half, which is slightly camp, and, especially through the irresistibly psychopathic caricature of the main character, the film makes its work a little easier when it runs from subtle social criticism and attentive satire of a marital crisis to shocking twists. Moreover, in some of the "dark" scenes, it seems as if Ben Affleck (deprived of the opportunity to defend himself with his smile) reaches the limits of his acting. I can't say that Fincher convinces me indefinitely about the meaningfulness of all of the parts of his game, but I admit, without torture, that even taking into account the complexity of the original and all the pitfalls of the material, my initially slightly indifferent attitude transformed into deep recognition. I’d like to watch this Gone Bitch again after some time has passed.
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Bitching about Fincher playing it safe is like badmouthing Jagr for his hockey finesse and scoring goals. This narrative, directed with the precision of a neurosurgeon, for whom the camera is the scalpel and the music the anesthetic, precisely doses the marital crisis with a cool detachment, in which the apparent waters of detachment are navigated by actors who have every letter of the script pinned directly to their bodies. Affleck's worldliness with the hallmark of a small-town dweeb works, but Rosamund Pike reigns supreme. Their interaction is something you experience on screen once or twice every three years. It’s a perfectly polished film that knows it and isn't ashamed of it. The first and last shots are divine.
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