Another Fincher Masterpiece

Rating: 9/10 (1 November 2014)

The movie opens with a shot of the back of his wife's head as Ben Affleck's (Nick Dunne) voice-over describes how he would like to crack open her skull to let everything inside pour out to be examined.
This narration perfectly sets up the rest of the movie by immediately implanting the possibility in our minds that Nick may have actually killed his wife. At dawn of July 5 (Nick and Amy's 5 year anniversary) Nick stands at the end of his driveway with a thoughtful expression containing an ambivalent combination of content and uncertainty—exactly the way we might expect a man to look if he had just killed his wife. Three minutes into the film and I am already hooked.
A short while later Nick drives to a bar to chat with his sister with whom he owns the bar. He orders bourbon at 10am. Clearly something is weighing heavily on his mind and clearly that something involves his wife. Through flashbacks we are introduced to Nick and Amy and their seemingly charming yet complicated relationship. A couple hours later Nick discovers broken glass and turned over furniture in the living room. His wife is gone.
The police arrive and run a sweep of the house and question Nick at the station. The next day the story explodes, launching a neighborhood search for the missing girl. Throughout every moment since the movie began, Nick's behavior has fueled possibility that he killed his wife. He appears aloof, distant and, frankly, unlikable. Nick cooperates and attempts to show a good face in public, but clearly many believe him to be guilty. The growing pile of evidence does nothing to erase the suspicion.
Media coverage of the story continues to grow. Soon day time talk shows rant about Nick and imply his guilt. One talking head even purports an ignorant and hasty diagnosis of Nick as a sociopath. Eventually Nick is forced to hire a defense attorney as he fights to prove his innocence.
Gone Girl is classic David Fincher filmmaking. The characters are all gritty, flawed. There are no heroes, just certain individuals who are less wicked than others. The lighting matches the morbid mood, and the only smile cracked in the entire movie is one by Nick in a foolishly taken picture with an attractive female at the search meeting. In spite of the perpetually solemn disposition of the characters, the dialogue adroitly sprinkles in just the perfect amount of dark humor to prevent audience depression. The music elevates the suspense and intensity of every crucial scene, yielding a seamless transition of the story from page to screen. Gillian Flynn should be proud.
While the filmmaking by Fincher and story writing by Flynn tower above all else, the acting should not be overlooked. Affleck managed to turn in a respectable performance as the glum and annoyed husband-murder suspect. Rosamund Pike was remarkable in role. I am amazed that she has not had more standout performances, but those opportunities should come rolling in after filmmakers witness her marvelous work here.
Overall, the film is simply spectacular. I have but one complaint. *MAJOR SPOILER ALERT* Near the end of the film, there is a scene in which Amy is laying in a hospital bed as she recounts the details of her recent rape and escape to a room full of police and hospital staff. Completely ridiculous. I could not believe it as it was happening. I could hardly bare to look at the screen. Luckily, the final scene rolled only moments later: a return to the opening. Nick is looking at the back of his wife's head, continuing his narration. Now we understand exactly how Nick came to ponder those unthinkable thoughts about his wife. *END OF SPOILER* Final verdict: 8.5 out of 10.