David Fincher's Gone Girl is released today. We solve the mystery. Is it good or not?
|"Hmmm....I know a certain|
crime fighter that could find
her. Nevermind. Sequel idea."
Fincher is in perfect form as he uses his signature style to exacting perfection, all the while making impeccable tonal use of Reznor's musical fortitude and the excellent acting talents he's surrounded himself with. To say this is his best might be stretching it. Yet, there are no complaints with his latest theatrical achievement. Gone Girl has the continued markings of a director that rises above the norm every time he lays his hands on a script.
And this is no exception. He transposes his visual method to Gone Girl with his trademark approach as audiences are granted access to another feature that looks just as good or better than his Girl With a Dragon Tattoo or The Social Network. Once again, he uses the "less is more" technique to continued success. It gives films like Gone Girl a realistic but cold dynamic feel in a time when most directors are worried about big effects shots and as many quick edits as possible. By all accounts, Fincher is a minimalist that knows how to make a simple picture appear grand in scale.
|"What?! I'm Batman!!|
Get over it!"
Gone Girl is an all encompassing motif that takes jabs at our obsession with media coverage, the people that hound victims, the bottomless seething pit of social media jargon, and the people that follow it all like lost puppy dogs. It's also a commentary on how we as a people automatically jump to conclusions without knowing the full truth. Gone Girl is Fincher's ode to the myth of the American dream. And it's damn good.