"Gone Girl" is a thriller destined for 'vintage' status.

Rating: 8/10 (29 September 2014)

"Gone Girl" (18) Directed by: David Fincher. Starring: Ben Affleck, Rosamund Pike, Tyler Perry, Neil Patrick Harris, Carrie Coon and Scoot McNairy. Rated: 18 for containing strong bloody violence and very strong language. Running time: 148 minutes, 51 seconds. Released in UK cinemas from Thursday, the 2nd of October, 2014.
Earlier this year Gillian Flynn's best-selling novel, "Gone Girl", left me devastated. It was a paperback which led me to believe that it had great potential, yet it only managed to provide riveting entertainment throughout its first two thirds. However, it was the ending that spoiled a perfect novel. An ending so inconceivable, that I refused to read another book by Gillian Flynn. Since then I've contemplated why I felt that way, and have graced Fincher's adaptation with gleeful abundance. But, the novelist lied. When Flynn promised a different ending to the film adaptation (which she has also scripted) I was overjoyed, but it turns out that there is no difference whatsoever between the ending of the book and the film.
Personal ranting aside, Fincher's attempt at another critically acclaimed novel is exceptional. It opens with the idea of a perfect marriage, and descends into a convoluted series of mind-games and elements of social commentary, based upon the media's idea of what it is to be accused of murder, and how to deal with their wrath.
Nick Dunne (Affleck) is a thirty-something writer who lives in the heart of Carthage, Texas, alongside his beautiful wife Amy (Pike), who is a writer of the "Amazing Amy" book series. All is well in the Dunne household until one day, when Nick returns home from his morning errands to find that Amy is nowhere to be found. With smashed objects lying around the living-room, Nick discerns that his wife may be missing. Upon notifying the police and his family, the media swarm upon Nick like a pack of wolves, aggravating him at every turn. Soon through Nick's albeit strange behaviour, the public perception of Nick's intentions begin to change, with many people asking the same horrifying question: Did Nick Dunne kill his wife?
You think you know the story? Think again. Sticking close to the source material, Flynn has allowed for Affleck's best performance in many-a-year. Portraying a potential murderer has allowed him to expand his acting talents, with added humour and bite, putting behind his previously disappointing performances and adding this latest role to the shelf of his recent successes, emerging a fully- fledged actor.
Without Affleck's participation the film wouldn't work with another actor in his role, and it's the same case in relation to Pike. Ever since she was viewed in Pierce Brosnan's "Die another Day", she has continued to excel in all of her films. Here she plays with the audience's mind, allowing us to encourage her character at one moment, and hate her, the next. It's a strange quality, but her performance is a quiet, yet absorbing one, eventually revealing how talented she really is. A career best performance, I have no doubt.
Apart from the two leads, the film also benefits from a constantly intriguing cast, full of actors who show a side of themselves that didn't deem possible. There are two actors in particular: Tyler Perry and Neil Patrick-Harris.
Yes, Tyler Perry has finally delivered a solid supporting performance that doesn't involve dressing up in a ridiculous stereotypical costume and requires him to actually act. And that he does. Every detail is understated, but he is surprising. As is Harris, who also astonishes within the film, as a constant reminder that he too can actually act when not required to be starring in "How I Met Your Mother", delivering a peculiar performance that's both creepy and comforting. Scoot McNairy also appears within the film as a troubled ex-boyfriend of Amy, who, when confronted about Amy's past relationship, creates a dark presence which suits his style exceptionally well. He may only appear for one scene, but it's definitely appreciated.
Gillian Flynn may be adapting her own novel, but why not? She's the perfect candidate for the job. She has spent countless hours carefully crafting these characters and events for her novel, so she should know them from the inside out. That itself is evident. For each scene the audience are treated to characters that are written with affection and the idea that they are actually worth caring about. It's a skill that is worth having, and shows that Flynn may be more than just a novelist, despite her decision in regards to the film's finale.
As always, Fincher is a master behind the camera. His ability to get the very best performances out of his actors is phenomenal, and he does it again here, in a thriller that seems as if it was written especially for his mind. Perhaps it was, and along with his camera angles and general skill in the art, he produces a sleek looking film that mirrors his vision of "The Girl with the Dragon Tattoo" (2011).
As most recent Fincher films have been scored by Trent Reznor & Atticus Ross ("The Social Network" and "The Girl With The Dragon Tattoo"), the pair have returned to produce a strange and absorbing soundtrack, which fits the tone of the film perfectly. In particular, their track named "A Reflection" is a splendid example of how talented they are, and how dark the film actually becomes. It couldn't be better.
Fincher's latest film is an unflinching rendition of marriage in its true form. Darkly comic and boasting some of the finest and most unanticipated performances for many years, "Gone Girl" is a thriller destined for 'vintage' status.