GONE GIRL MPAA Rating: R/ Genre: Mystery-Thriller/ Stars: Ben Affleck, Rosamund Pike, Neil Patrick Harris, Tyler Perry, Carrie Coon, Kim Dickens, Patrick Fugit, Missi Pyle, Emily Ratajkowksi, Sela Ward, Scoot McNairy/ Runtime: 149 minutes My first exposure to Gone Girl came when I devoured Gillian Flynns critically acclaimed novel in less than two weeks, and quite frequently succumbing to thoughts of just one more chapter and finding myself still engrossed some 30 minutes later. Indeed with its captivating characters and painstakingly constructed mystery, Flynns complex, multi-layered thriller was the very definition of page turner, and when news broke that David Fincher was interested in bringing the novel to the big screen, I honestly couldnt think of a better pairing. Upon seeing the finished product if it wasnt safe to say this already, I think after Gone Girl there is little doubt or argument to be made against the fact that David Fincher is one of the most consistently great directors working in the industry today, for Finchers latest efforts behind the camera with this meticulously made, perfectly paced and often thrilling story is movie-making of the highest order and Gone Girl (exactly like its source text) is a mystery/thriller that steadily morphs into what can equally be described as a darkest of dark comedy, a searing account of married life and an edge of your seat police procedural, all elements that combine to create one of the years best films. The plot is as follows: On the morning of his fifth wedding anniversary, Nick Dunne (Ben Affleck) comes home to find the front door open, the glass coffee table in the living room destroyed, and his wife, Amy (Rosamund Pike), nowhere to be found. Detective Rhonda Boney (Kim Dickens) and Officer Jim Gilpin (Patrick Fugit) are the first responders, and they immediately get the sense that Nick isnt telling them everything - for example, if the living room was the scene of a struggle, then why arent any of the photos on the mantel turned over? Thats just one of several unanswered questions that begin popping up as Nick is scrutinized, first by the police, and then by the media as Amys disappearance quickly becomes headline news. Nick certainly doesnt seem like a guy distressed about his missing wife, and as Amys diary entries (presented as flashbacks) begin filling in some of the blanks, we start to wonder just what else Nick might be hiding, and if he knows more about Amys whereabouts than hes letting on…Now Fincher from day one has shown an uncanny ability for visual atheistic, haunting and atmospheric surrounds and with the help of his composers (this time once more teaming up perfectly with Trent Reznor and Atticus Ross) finely molded musical accompaniments and Gone Girl shows off all these skills once more with the suburban world of Gone Girl shunning the safety in numbers feel that they provide the residents and in fact its not dissimilar to a world akin to the film Blue Velvet where beneath the grassy exteriors lies deep seeded secrets that threaten to tear at the seams of idealistic marriages and those double lives we people lead and plus Fincher relishes every element of Gone Girl from the mysteries through to the reveals and like only a handful of movies each year this project feels like the perfect meeting of subject and maker who meet in synch to create such a finally tuned product which also shows that Fincher really has become the master of the thriller genre, much like Scorsese with his mob pictures and after Seven, Fight Club, Zodiac, Girl With the Dragon Tattoo and now Gone Girl, there is a true legacy to his directional work that will forever be hard to match much like Finchers continued fine work with his actors. Also in another wise move that pays dividends in the finished product, Flynn herself was tapped to write the adaptation, stripping the story down to its most important elements while still maintaining the frequent juxtaposition between Nick and Amys conflicting points of view. While some purists will complain that the film lacks much of the novels nuance and subtleties, its hard to find fault with a screenplay that was written by the author of the source material, particularly when the results are so impressive. Now although much noise was made initially by rabid fans of Gillian Flynns source novel about the casting of leads Ben Affleck and Rosamund Pike as Nick and Amy Dunne I think that after witnessing first hand one of the years best double acts by the two on form actors there will be little doubt that the casting choices were staggeringly spot on with Affleck proving to be at his polarizing best as Nick Dunne a man we as an audience are unsure of and who we even at some points downright ask ourselves “do we like this man or do we truly loathe him?” Indeed its refreshing to see Affleck put in such an assured turn, from inappropriate smiling through to outright rage, and it is a turn that truly is an award worthy one that in a less standout year for the male acting category would be a turn featuring strongly come February, but while Affleck once more showcases the talent we all know he has, the breakout turn from Rosamund Pike is the films largest revelation because after finally being given a chance to chew through not only a high profile but layered role, Pike just downright excels as the amazing Amy at the center of this twisted and depraved tale and Pike truly creates one of not only the year’s but modern day cinemas most memorable and unique leading ladies, a creation who at any given time can be compelling, outrageous, disgusting and calculated, and it really is a stunning turn to witness and it would be unwise to suggest that Pike isnt now head and tails ahead in the female acting awards circuit and surrounded by quite amazing supports from Kim Dickens’ dogged detective Rhonda Boney, Carrie Coon as Nicks twin sister Margo, Tyler Perry (proving theres more to the man than Madeas fat suit) as high profile lawyer Tanner Bolt and Barney Stinson himself Neil Patrick Harris in a sharp and straight outa left field turn as creepy rich man and one of “Amazing Amy’s exes Desi Collings, Pike and her on screen hubby Affleck are also encompassed all around by one of the year’s strongest ensembles. Now some audiences may balk at Gone Girls 149-minute running time, but the film is so meticulously paced that it never really slows down long enough for moviegoers to glance at their watches. Each scene is allowed just enough time to breathe before were rushing onward, and every single component is so incredibly, undeniably good that you wont want to miss a single second. All in all without spoiling any of Gone Girls many varied and unexpected twists and turns (this is the type of movie best seen with as little knowledge as possible), this is a movie thriller of the highest order that shouldnt be watched by those expecting an everyday murder/kidnapping mystery, for what transpires throughout this tale is anything but your run of the mill narrative. One of the most involving movies of recent memories, Gone Girl is bitingly funny, white knuckle tense, starkly violent and as weve come to expect from Fincher, quite brilliant and above all Gone Girl is without question one of the years best films, one of the years most unique films and one of the films of this year that you cant dare to miss. On a scale of 1-5 I give Gone Girl a solid 4 out of 5.
Posted on: Wed, 15 Oct 2014 20:09:13 +0000
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