Member Since: 8/19/2013
Posts: 11,174
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The Nick here, like so many noir heroes, is simply, too simply, a decent, deflated, ordinary sap with serious woman problems. The same is true of this movie. At its strongest, “Gone Girl” plays like a queasily, at times gleefully, funny horror movie about a modern marriage, one that has disintegrated partly because of spiraling downward mobility and lost privilege. Yet, as sometimes happens in Mr. Fincher’s work, dread descends like winter shadows, darkening the movie’s tone and visuals until it’s snuffed out all the light, air and nuance. As Nick becomes mired in the search for Amy, she confides how romance gave way to marital dreariness, accusations, his mounting loathing, her growing fear. One minute, he was leaving empty takeout containers strewn about and playing video games; the next, she says, he was raising a hand to her and she was cowering in their bed. She has the victim thing down cold.
By the movie’s second half, you may wish that Amy would stay gone. Ms. Pike has some fine scenes in this section, notably with a pair of hilariously sly lowlifes, Greta and Jeff (Lola Kirke and Boyd Holbrook), who, taken with a pompous, wealthy fool (Neil Patrick Harris as Desi), suggest that the movie is about to go deeper, that it will surprise you or stir you or say something, anything, maybe by making good on its scene-setting images of empty American stores. That never happens, and instead, the movie just hums along like the precision machine it is, even after it shifts tones again and enters Grand Guignol territory, with a flashing knife, gushing blood and surveillance footage of a seemingly tortured, horrifically abused and screaming woman. It’s a ghastly vision, although not for the reasons this movie would like.
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Awww.
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I haven't seen this before. 