Gone Girl

Gone Girl ★★★★½

This review may contain spoilers. I can handle the truth.

This review may contain spoilers.

Even though it is a rather large outlier in Fincher's filmography in terms of tone and such, it's still obsessed with even the smallest of details and information like his previous two films. Fincher doesn't treat it like logging data in the way he does with The Girl With The Dragon Tattoo (one of the strongest aspects of that film, no doubt), but efficiently streamlines them for the audience to unpack with ease. What's more fascinating is the way the narrative navigates itself from scene to scene.

Pre-midway twist Gone Girl plays out as a portrait of a disintegrating marriage wrapped around a somewhat self-aware mystery. Post-midway twist Gone Girl becomes a internal and external combative battle of image and performance between Nick and Amy on not just the media landscape that have come to blindingly narrativize complicated cases for the sake of views, but also within their very own marriage that traces back to the very first night they met.

Fincher plays around with the roles of each characters within the film, their off-screen personas and audience expectations in a way that hasn't been done since the massively underrated Southland Tales and that adds so much more to the narrative and individual characters. And it gets suburbia down oh so right.

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