Gone Girl

The latest pop-culture darling novel-turned film pairs Gillian Flynn with master adapter, David Fincher. The novel, Gone Girl has been a runaway success and it was only a matter of time until it was made into a film. Much like the Girl with the Dragon Tattoo, the book isn't all that captivating. I may ruffle some feathers, but I was disappointed in the ending, and didn't find myself wishing for anything but unhappy endings for the two main characters. Perhaps that is the point. Fincher captures that emotional abyss in a way that only he can; The ominous direction, dark settings, and matter-of-fact characters that are all the hallmark of his craft. It's the brave, first serious contender to foray into awards territory this year, which usually is a curse, but I wouldn't be surprised to see a handful of nominations.

Nick (Ben Affleck) and Amy Dunne (Rosamund Pike) are an educated, middle-class married couple transplanted from the busy high life of New York to a slow, Americana-esque town in Missouri. The story follows a short span of time from the day of their 5 year anniversary on a sweltering 4th of July through the summer, in dramatic fashion. Over those long few weeks, Amy mysteriously and under suspicious circumstances disappears. As is customary in missing persons cases, Nick, the husband, is the prime suspect. The story is told in two parts with flashbacks thrown in the mix. It's a he said/she said thriller from start to finish, and the ending is something you might not see coming, but will certainly polarize audiences.

Don't read the book first. If you have, you will be impressed by Fincher's attention to detail and Flynn's seamless adaptation of her own material. If you haven't, you will enjoy a wild psychological thriller that highlights the highs and lows of marriage and showcases the idea that you never really know someone, even if you've been sleeping next to them for years. The book builds to a crescendo, then crawls to the finish line in a lackluster final act. The film makes just enough slight changes at the end to satisfy the viewer in contrast to the written companion. Much like Dragon Tattoo, it's not an ending intended to wrap things up in a nice little bow, but when has Fincher ever shied away from leaving audiences hanging?

David Fincher is the greatest film maker not to have an Academy Award on his mantle. There, I've said it. You might make an argument for Christopher Nolan as a modern day visionary, but Fincher is consistently overlooked in the category best described as dramatic award bait. His two previous nominations are for The Social Network, and The Curious Case of Benjamin Button, and he will likely receive another nomination this year, but unfortunately he won't be celebrated yet again. Here's why. Fincher's films stand alone on a ledge. They are edgy, thrilling, beautifully accompanied by very intentional visuals and sounds, and he teeters on a darkness that is best seen in The Game, Zodiac, and Dragon Tattoo. Hell, Fight Club, Seven, and Alien 3 as well. Gone Girl follows this line moreso than The Social Network or Benjamin Button, and the source material is perfect for his style. His darkness will scare away the awards crowd. He is fearless in where he is willing to go with his films. I liken it to last year's Prisoners. I absolutely loved the film. It was one of the few daring and original films I can recall from 2013, but it got no love because of the graphic and possibly gratuitous nature of the story. Gone Girl and Fincher achieve this level of shock. The film plugs along nicely, a cute thriller about a cute couple, but then it delves into darkness. Not to the extreme of some of his previous films, but there is one particular scene maybe 15-20 minutes from the end that is classic Fincher, and really jumps at the audience out of seemingly nowhere. That scene is what makes this film an R rating, and what will cost him serious consideration. Hollywood loves a rebel, but usually rewards the darling. I think the film is better for it, but it's Fincher's Achilles heel.

Ben Affleck is a good choice for this role mostly because it's not a very complex character. Not to knock Affleck as an actor, but Nick is a bit of an everyman and Affleck fits. He is a more talented director than an actor, but people give him a lot of flack that isn't warranted. As Christian Bale's replacement as Batman in the upcoming Dawn of Justice, and eventually the Justice League, he will make or break his acting career, but with 2016's Live by Night, an epic Dennis Lehane film that may be the next Scarface, Affleck may just move into the directing stratosphere with the greats (if Argo wasn't enough). It's just too bad that he has cast himself as the lead role (should have gone to someone lesser known).

Rosamund Pike is perfectly cast, and steals the show as Amazing Amy. She's a privileged debutante who finds herself miserable despite outward appearances being perfect. Her New Orleans accent could use a little work, but otherwise she gives the performance of her career, and will undoubtedly receive an Oscar nomination, if not a win. It remains to be seen what her competition looks like, but she gets a nomination.

The supporting cast is highlighted by Neil Patrick Harris as the wealthy ex-boyfriend, a spectacular Kim Dickens and understated but very effective Patrick Fugit (where has he been since Almost Famous?) as the police tandem working the case, Tyler Perry as the gregarious and sleazy-chic defense attorney, Tanner Bolt (great sleazeball name), and Carrie Coon as Nick's only supporter, his twin sister Margot Dunne. It's a good choice all around by the casting director, and I was particularly drawn to the police duo's chemistry and banter. I would love to see Patrick Fugit build up his resume as he has grown up since 2000, and has been around Hollywood, but hasn't landed a leading role. He's ripe for something big right now.

The film has its flaws, it isn't perfect, but given the material and my opinion of the book, the production team does an outstanding job. Fincher is amazing as always, and Pike gives the best acting performance by an actress so far this year. Brace yourself for a shocking scene near the end, but otherwise, enjoy the thriller. You might enjoy it more (or less) if you haven't read the book, but it's worth the price of admission. Go see the first award-worthy film of the year. 9/10.