Review of Gone Girl (2014) by Adlai N — 31 May 2015

No one ever said marriage was easy. But who ever said that probably wasn't married to the couple at the forefront of Gone Girl. That's not just some slogan that everyone throws around at a couple whenever things get tough, but it's also the driving force of the entire film. There are tumultuous times when two people have to want to work hard to make things work, and then there's this couple, a sure fire candidate for the worst cinematic couple of all time.

It's been a while since I was this consistently surprised, shocked and all around awe struck by a movie, but that's exactly what Gone Girl did. It's really something that needs to be seen to be believed and one should make quick haste to see it since it has one of the best twists I've ever seen. It will be hard to keep it under wraps given how social media is spoiler central.

Adapted from a novel of the same name by Gillian Flynn in 2012, Nick Dunne (Ben Affleck) is a bar owner in St. Louis who is preparing for his fifth wedding anniversary to his wife Amy Elliott-Dunne (Rosamund Pike). It starts off like any other day until Nick comes home to find the front door open, broken glass all over the floor and clear signs of a struggle. He can't seem to find his wife anywhere and Amy is only shown in flashbacks from her journal. But as shocking evidence turns up through a police investigation along with public and media scrutiny, Nick finds himself as the number one suspect for murdering his wife despite his constant pleas of innocence.

Reviewing this film is incredibly hard given how many surprises are in it, but a challenge I am more than willing to accomplish. Director David Fincher was already a legend in many people's minds and one of the best in the world at his craft with classics like Fight Club, Seven and The Social Network. But here with Gone Girl, it reaches an entirely new level where his stamp clearly presents itself more so than ever. Fincher out does himself with his best film since Fight Club and one of the finest performances in any of his past films. Fincher's strong visual style, complex characters, enthralling plot and a dark satirical edge have always been standard for him. This makes all the more sense that he can adapt novels and short stories so well like Fight Club, The Social Network, The Girl With The Dragon Tattoo and The Curious Case of Benjamin Button. He has a great handle for the material divvying up the screen time well amongst the ensemble cast.

Fincher doesn't overload the viewer with information or make you feel bogged down by it all during its two and half hour running time. Everything felt liked it mattered where every nuance may reveal something about a character or the story. Even with its two and half hour running time, you want more. It's hard to leave this world that he created. Fincher is known for his brain melting twists, more so than wannabe M. Night Shyamalan, and packs in more twists that Fight Club, Seven, The Game and The Girl With The Dragon Tattoo combined. How he managed to pack in so much without it turning into overkill is nothing short of unbelievable. Every twist was expertly managed to perfection where one will have to see it more than once to get that thrilling feeling again. This may be even more depressing than Seven and that's saying something given how bleak that ended. Few directors have it where seeing their films is an important event, but that's exactly what this is. It's something that you will want to tell your friends about months after it's gone.

The acting was amazing all around with every actor pulling their weight and contributing an impactful moment. Not one character felt left out or like it was on the outer rings waiting for their cue. But of course it's the leads that provide the meaty offerings and succeeding on all fronts. Ben Affleck has grown and matured in an incredibly competent actor over the years with his recent roles in The Town and Argo. But it's here as a married everyman that outshines his performances as a bank robber and CIA agent. Anyone doubting his acting abilities should eat their words if they already haven't already. With every performance, he is showing why he will make a great Bruce Wayne/Batman. He is more human and affable, able to relate on a more personal level. His natural charm and charisma shines through naturally. But it's his menace and dubious nature that really drive his performance home. He's a two sided coin, flip-flopping between personas showing how versatile Affleck really is.

Rosamind Pike on the other hand was nothing short of brilliant in one of the most shocking performances I've seen in years. It's hard to remember when I've seen a performance that dynamic and shocking with Pike quickly showing that she is a force to be reckoned with. Her narration from her diaries was incredibly well done. She has a great voice that expresses so many emotions without even having to see her face. Honestly I haven't seen her more notable performances but was aware of who she was. So I wasn't sure what I was getting with her, with Affleck I kind of knew what I was getting more or less. If she isn't nominated for a trove of awards while winning many of them come awards season, it would be one of the worst crimes in Hollywood.

Together Affleck and Pike had impeccable chemistry, acting like they really were married with every argument and declaration of love seemingly coming out of any married couple's living room. Alone they seem like generally nice people, but together you see that it's basically mixing chlorine and bleach. It's a joy to watch them go at it and I've never had so much fun peering into the intimate moments of a married couple's relationship on the brink of utter destruction. Whether they're throwing barbed wire laced insults or sharing the first romantic kiss, you don't want to look away and you don't want them to stop. Fincher has a great history of male/female tandems, most famously with The Narrator/Tyler Durden and Marla Singer in Fight Club. But Nick and Amy-Elliot Dunne is quickly becoming a classic movie couple that would terrify Sid and Nancy.

The cast was incredibly well rounded with various actors. Margo Dunn (Carrie Coon) was Nick's twin sister as well as co-owner of the bar. But quickly became more than that as the confidant to Nick during this harrowing time. Her despair while dealing with stunning revelations were real and touching, while showing she has just as much fight as Nick. Detective Rhonda Boney (Kim Dickens) is the lead investigator on the case, showing a wise beyond her years demeanor, taking in every and all clues as they come up while holding all judgments on Nick until more substantial evidence. This runs counterpoint to her partner Officer Jim Gilpin (Patrick Fugit) who wants to arrest Nick outright despite having no real proof. They worked well together as a cop duo with some great work. Tanner Bolt (Tyler Perry) is Nick's attorney and was surprisingly good, given Perry's inclination for wacky comedies and wearing drag. He was a slick, smooth operator who knows all the tricks of The Game and how to erase doubt of even the guiltiest person. Desi Collings (Neil Patrick Harris), an ex-boyfriend of Amy's had some good moments too but nothing that meaningful.

Some of my favorite parts were the dissection of the media, public opinion and reasonable doubt. It looks like shooting fish in a barrel but it plays an important part in the continuation of the story and toning down the overt subtitles would undermine what it's trying to say. Far too often loud mouthed, bobble head, cable TV idiot's act like the voice of reason whenever something shocking or horrible happens. They present the most outlandish scenario as truth without saying so while painting a picture of someone they don't even know. Ellen Abbott (Missi Pyle) and Sharon Schieber (Sela Ward) played the roles of polarizing cable TV show hosts to perfection, making you hate those types like Nancy Grace even more for even spreading that type of filth to idiots who eat it up. The circus atmosphere to hot media targets points to our inert obsession with reality figures and how our perception of them changes in an instant. It also shows that even though Amy's body was nowhere to be found and no evidence to say that he killed her, he is still pointed as the killer, by the public as well as the cops. It hardly matters to others that you're innocent until proven guilty, but just that it makes it easier to pin the blame on somebody.

The script was crackling with passion, fire and spite, all the things that make up every marriage. With something this emotionally complex, it only makes sense that the author of Gone Girl would write the script. Flynn has a deep love and understanding for the characters while giving them a believable script to take from. It was also surprisingly funny with its dark undertones and content. Fincher always has dark comedy present in his films. Sometimes you can't help but laugh at about things that you shouldn't. The views of a crumbling marriage may ring too true for couples as well as thinking about what Nick and Amy do to each other. Everything was said with such reverence and pop that gave everything a much needed feeling of stark reality. Whether it was the detectives scrounging for clues, the harried couple arguing or TV pundits debating, it was as if it was pulled from real life. Like Nick said when taken in to the police headquarters, "This feels like an episode of Law And Order.", then proceeds to do the classic tone.

I love a good score so this was like a feast for my ears. Knowing that Trent Reznor and Atticus Ross reteamed for another Fincher film made me so much happier. No one else can create these musical accompaniments like these two. And they continue their streak of Fincher scores with the best yet. It accentuated the drama, grief, excitement, and shocks like nothing else. It was equal parts haunting and beautiful where you wish it would go on for hours. It added so much depth to scenes, emotions and characters that the first kiss between Nick and Amy became so much more romantic and Nick finding out something awful that much for harrowing. The cinematography by Jeff Cronenweth was gorgeous as always, as it is a David Fincher film. I loved the slow, creeping camera getting closer in a shot. It paints everything like a stationary picture with figures moving in and out, creating a gloomy, creepy like atmosphere.

One of if not my favorite scene in the movie would have to be the montage halfway through the film. As a lover of montages, I would consider myself a connoisseur of sorts. With saying that, I could say that this was one of the greatest cinematic montages and sequences I have ever seen. Everything about it from the acting, direction, editing, music and cinematography was pure unabashed brilliance in the highest order. It comes out of nowhere and half way through it, I knew I was watching something special and had trouble keeping my jaw open. But everyone will be doing that the entire film. That sequence alone should be enough for Gone Girl to garner multiple awards.

Not much more needs to be said about Gone Girl as it heads the awards season as the first official classic. It may be superfluous, but this is one of the most exciting, unpredictable thrillers I've seen. The ending, as is to be expected, is the most telling part. It comes full circle and ends exactly where it needs to. There is nothing that can prepare you for the mayhem one will witness and is a ride worth taking more than once. Treated as somewhat of a horror story for those who aren't married, it captivates all those who enter while mercifully beating them into submission, refusing to release anyone from its cold, steely grip. Sometimes it's good to realize when it's really over and be single, now I see Nick and Amy wish they'd have done the same. Five spousal murders out of five.