Greetings again from the darkness. One of the benefits of seeing so many movies is the ability to readily ascertain whether the appeal is to specific movie-goers (teens, romantics, et al), to mass audiences, or perhaps only to film critics and cinephiles. The downside is that when one of the rare mass appeal thrillers hits theatres, my enjoyment of the twists and surprises tends to suffer. Such is the case with director David Fincher‘s version of Gillian Flynn‘s best-selling novel.
Whether or not you are a devotee of Ms. Flynn’s novel, you are likely to find guilty pleasure in this pulpy, neo-noir thriller featuring Ben Affleck as the man who may or may not have killed his missing wife (Rosamund Pike). This is less “whodunit” and more “did he do it?”, at least for the first half. When Nick (Affleck) returns home to discover his wife (Pike) is missing, we hear Amy’s voice guiding us through her journal as we go from blossoming romance to crumbling marriage. Nick’s perspective is derived from his work with the detectives (Kim Dickens and Patrick Fugit) and conversations with his sister (Carrie Coon).
This story-telling structure is beautifully executed, and when combined with director Fincher’s fascination with the dark side of people (The Social Network, Zodiac, Se7en, Fight Club), and the terrific camera work and lighting, we witness elevated technical filmmaking. Watch how Fincher uses lighting and shadows to change the tone of the film as the noose tightens on Affleck’s character.
Much has been made of the critically acclaimed performances of Affleck and Pike, so I’d prefer to focus on a couple of others. Carrie Coon steals every scene as Nick’s twin sister Margot. She is the moral compass of the film, and gives the absolute best performance. Kim Dickens provides the necessary screen presence and wry humor to prevent the stereotypical detective role from emerging. This is a real person working a complicated case. Also of note is Missi Pyle‘s obnoxious Nancy Grace style TV reporter clearly attempting to build ratings by guiding the sheep (everything we hate about the media, but continues to draw big ratings). Lastly, and most surprising, Tyler Perry‘s slick and slimy headline-grabbing defense attorney provides a punch when the film needs it.
The second half of the film transitions from mystery to anatomy of a scheme, and features one of the most brutal and bloody on screen murders you will ever see. It also provides more excellent support work from Lola Kirke and Brad Holbrook as a couple of trailer park opportunists, and Scoot McNairy and Neil Patrick Harris (against type) as Amy’s former lovers.
The wicked fun in this movie is derived mostly from the misdirection and personalities of Nick and Amy. It’s nice to see a female lead character with some real scene-chewing, even though I believe many actresses would have been better picks. When I hear talk that it could be best movie of the year, I certainly hope that’s off base. This one is at the level of other mainstream thrillers such as Fatal Attraction and Basic Instinct, and it’s not difficult to imagine Michael Douglas in the lead, were this 1988. Adding to the fun is the satire and social commentary … especially on the current trend of media speculation in place or reporting. So enjoy the twists and ask yourself just how much you really know about your spouse.
***NOTE: for those who read the book, this would be considered a faithful adaptation … unlike some of the early rumors led us to believe
SEE THIS MOVIE IF: you enjoy your thrillers with a dose of social commentary OR you want a glimpse of the new Batman body in progress.
SKIP THIS MOVIE IF: an exceptionally gruesome and bloody murder scene is something you prefer to avoid
watch the trailer: