Scott Foundas calls Gone Girl the movie of the year:
In full accord w/ @justincchang: GONE GIRL is an exhilarating, pitch-black marital comedy; Fincher's EYES WIDE SHUT; the movie of the year.
— Scott Foundas (@foundasonfilm) September 22, 2014
Even with the well-established praise for director David Fincher as a master filmmaker — his movies lushly drenched in shadow, his capacity for tough stuff matched only by his care in presentation — it’s easy to forget or overlook his sense of humor, the spoonful of sugar that helps the malevolence go down in his films.
At his best, Fincher has a sense of humor that not only cuts through the darkness but actually contrasts it to significant effect. After the dour, sour, sadistic Scandanavian misfire of “The Girl With the Dragon Tattoo,” it’s a pleasure to note that Fincher’s latest adaptation, of Gillian Flynn’s best-selling novel of the same name, is both wicked and wickedly fun.
Not only brutal but also brutally funny, “Gone Girl” mixes top-notch suspenseful storytelling with the kind of razor-edged wit that slashes so quick and clean you’re still watching the blade go past before you notice you’re bleeding.
He goes on:
Flynn’s script is loaded with nicely-tuned observations, not just about the rules and rituals of the modern American marriage but also about a media that shrieks speculation more than it speaks the truth and worries about slogans more than facts. The author’s clever, cruel and cool work also gives Pike the role of a lifetime in the shining, secretive Amy, while still making her human and comprehensible. Affleck, who’s personally had to endure a level of media scrutiny that makes a colonoscopy look dignified, brings much of that history to Nick’s affability and desire to please. When he needs to play the part, Nick does, but he’s not as smart as he thinks he is. Both performers are brilliant.
With its shifting perspectives and timelines, its constant conflict between what’s said and what’s truly seen, “Gone Girl” is clean, clear, and perfectly constructed. Cinematographer Jeff Cronenweth and editor Jeff Baxter, both regular Fincher collaborators, deliver the kind of work that looks easy but, assuredly and on reflection, is decidedly not. The score, by Trent Reznor and Atticus Ross, is a more mixed proposition, effective in the places it works and distracting on several occasions where it doesn’t.
New York Magazine’s David Edelstein:
Oh, what a stunning opening shot—a prelude to damnation—director David Fincher serves up in his elegantly wicked suburban noir Gone Girl, adapted by Gillian Flynn from her best-selling novel. It’s the back of the head of a woman (Rosamund Pike) on a pillow, her golden tresses aglow. An unseen man (Ben Affleck) narrates; he suggests that the only way to know what’s in a person’s mind would be to shatter her skull. Then the woman turns her face to the camera. It’s creamy-skinned, sleepily beautiful; her eyes open wide and she stares into ours. The look is teasingly ambiguous. Juxtaposed with the narrator’s violent words, the image poses the question: Who could want to violate a façade so exquisite? You want to pore over it, study it for clues to what’s underneath.
You get that chance for many of Gone Girl’s 148 minutes. The movie is phenomenally gripping—although it does leave you queasy, uncertain what to take away on the subject of men, women, marriage, and the possibility of intimacy from the example of such prodigiously messed-up people. Though a woman wrote the script, the male gaze dominates, and this particular male—the director of Se7en and The Social Network—doesn’t have much faith in appearances, particularly women’s. Fincher’s is a world of masks, misrepresentations, subtle and vast distortions. Truth is rarely glimpsed. Media lie. Surfaces lie.
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I just hope reading the book won’t interfer with my enjoyment of the film. I know half the fun is discovering the twists and I felt reading Shutter Island muted my response to that film.
According to reports, one’s enjoyment of Gone Girl is only increased if one has read the book prior to seeing the film.
When someone calls “the movie of the year” and it’s still September, that person loses their credibility with me.
Well maybe they just mean it’s the movie of the year so far. Because I don’t think any self-respecting critic would make such a claim so early in the year and expect it to hold fast by year’s end, without fail. When I say my favourite movie is Spirited Away, I don’t mean that it’ll necessarily always be that way. I might change my mind. A better film might come around.
Amazing best-of-his-career acting mentions in these reviews for Affleck. Pike is getting great word, too. But, the early reviews really focus on Affleck. Having said that, this feels like a Blue Valentine situation where Pike (Michelle Williams) could get nommed fairly easily for being great, but Affleck (Ryan Gosling) may not while being easily AS great because of the always competitive Actor race; it also hurts him that the movie comes out so early in the season.
87 on Metacritic with 12 critics in……let’s see what happens.
Gone Girl/Fincher has a bullseye on it. It will not be surprising if there are some critics who really take it apart in an intensive, negative way.
Filipe, 12 Years a Slave was the movie of the year according to critics, the Oscars and most audience members who saw it. That came out well before the end of the year.
Not necessarily. Peter Travers has called ‘Boyhood’ the movie of the year along with other critics. ‘Boyhood’ was reviewed much before the fall season.
When someone calls “the movie of the year” and it’s still September, that person loses their credibility with me.
It’s just a C+ for Indiewire.
http://www.indiewire.com/article/review-gone-girl-is-a-curious-choice-for-david-fincher-20140921
The ending has not been changed. Those reports were severely exaggerated. The reviews that I read said it is a faithful adaptation of the book which is quite fine by me!! Can’t wait for this to finally be released.
Read the book and loved its wicked humour, depth of story and multi-layered characters. Cannot wait to see its translation to the big screen from one of my favourite directors. Am heading to London next week so will be seeing it there. LOVE Oscar season!
I dont know, I mean, he did changed the ending but I havent read the book or anything. I think it has some potential to annoy some people who love the book just as it is.
I just hope reading the book won’t interfer with my enjoyment of the film. I know half the fun is discovering the twists and I felt reading Shutter Island muted my response to that film.
Seems something unique, trailer is truly mesmerizing and exudes confidence and the soundtrack so far sounds quite haunting and intresting, can´t wait for this one. Seems dark and intelligent in the way only Fincher know how to deliver.
I don’t remember which critic said it but they called Fincher a “surgeon”. That’s the best way to describe him. Everything services the tone, everything is carefully crafted and the blade, on his characters and his audience, is just the right size.