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‘Gone Girl’ review: misogynistic twist

 

 
Overview
 

Director:
 
Cast: , ,
 
Cinematographer:
 
Editor:
 
Composer: ,
 
Verdict
8.5


 

Positives


Brilliantly acted. Exceptionally told story. Some surprising moments.

Negatives


Pike makes the solid Affleck and supporting acts look bad.


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Posted 14/10/2014 by

 
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David Fincher always seem to find a way to turn the source material into something more. He proved that with The Girl With The Dragon tattoo, and he confirms it with Gone Girl. I admit that Flynn’s work has more literary capacity as Larsson’s work had, but Fincher establishes once again to let his film being a transcending force opposing it’s source material. Flynn handles the screenplay herself and because she is so well known with her god child Gone Girl has a very good feel and understanding with her literary counterpart.

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Flynn’s novel and screenplay is strong, because it’s not your normal “missing” story. Flynn decomposes that “missing” storyline and turns it into something different. It’s all about the focus shift or twist that comes into play half-way and that gimmick is not the only surprising change-over the viewer has to deal with. What really struck me is the impressive way Fincher managed to display the relationship at it’s core. Hypothermed and unemotional, and Fincher’s and Flynn’s cynical view on the human condition in a relationship are very tangible, and scarily spot on what gives Gone Girl a way heavier punch than you’d expect.

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The characters created by Flynn are wonderful and Fincher brings them effectively to life but it’s the performances that really does the trick. The supporting cast is rock solid but like always the leads steal the show, and even a very good Affleck gets outshines by the hypothermed and unpredictable performance of Pike. Being in the Academy Award discussion would be well deserved. Even though her character is solidly written the physically nature of her performance and the emotional nuance or lack of it is so difficult to pull off. That’s something that shouldn’t be overstated and that’s an area where Finchers excels every time.

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Fincher’s visual style has made a lot of progression since his earlier films, he developped a very consitent signature style containing beautiful contrasted color palette and especially is well balanced and perfected use of chiarascuro makes his signature so appealing. Fincher had that in his arsenal since Panic Room but really perfected it in The Social Network, and it’s been consistently there ever since. That makes his modern films so appealing. Great mise-en-scene, the superb production design and the underlit cinematography by Cronenweth makes his signature seizing. The score of Reznor and Ross is mesmerizing.

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A 149 minute feature that feels like a 90 minute one, precisely adapted to the big screen, narratively enthralling and gruesomely funny. Don’t be mistaken because Gone Girl is clever and far off from your typical girl goes missing story and Fincher proves that good storyteller are sparse but they are still present in Hollywood. This has to be the movie this year to go see with your husband wife or family. Acessible and lovable. Highly recommended.

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Cinematoracle

 
Cinematoracle
Breaking through cinema one movie at a time. Aesthetics above all, Antonioni, Malick & Godard are the G.O.A.T.s. I have a gargantuan soft spot for Vanessa Hudgens. Benoit Debie = THE cinematographer. Don't make war, make art.


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