Batfleck Needs a Lawyer
For those who don’t know, Gone Girl is director David Fincher’s latest crime thriller starring Ben Affleck, Rosamund Pike, and Neil Patrick Harris. Based on the acclaimed Gillian Flynn novel, Gone Girl is the story of Nick Dunne, played by Affleck, who has his life thrust into the spotlight when his wife Amy, played by Rosamund Pike, goes missing. As the local police force, town, and national media swarm onto the story, Nick finds himself struggling to not only find his wife, but to keep his secret life out of public view. Overall Gone Girl makes for a gripping crime drama that keeps you guessing throughout the whole film.
Where’s Gordon?
Fans of Fincher will immediately enjoy this film as he brings his signature brand of composition and direction to Gone Girl. Through his use of dynamic shots and lighting, Fincher really pulls the audience into this film, but what really stands out in the whole film is the difference between the present plot line and flashback scenes. Fincher uses shadows and flat coloring in many of the present scenes to show the uneasy and distraught tone of not only Affleck’s character but of the town itself, but once the film transitions into a flashback, the cinematography changes to a higher contrast of colors and softer lighting, especially on Pike, to give them that “fantasy” tone and emulate the feelings that one feels in the beginning of a serious relationship. However, as the story progresses, the flashbacks tend to veer closer to the same tone and look of the present scenes in order to reflect the course of Affleck and Pike’s relationship.
In addition to the cinematography, performances from Affleck and Pike really brought this film to life. Affleck’s defensive and sometimes disconnected demeanor really keeps you guessing whether or not he committed the crime. Coupled with some key actions, Affleck makes you think that he is afraid for his wife’s safety, but then switches in the following scene to make you think that he has either committed the crime to bring attention back to his dead writing career, or that he simply doesn’t care. Rosamund Pike’s oscar-worthy performance is what really brings out the film’s climax. Not to give anything away, her portrayal of Amy Elliot Dunne makes the audience question Nick Dunne’s motives even more, only to have the audience question their own thoughts. One small nitpick is that these three performances made the rest pale in comparison. That’s not to say that the other actors had bad performances, it’s just that they seemed to fall to the wayside.
While the tonal shift during the middle of the film is extremely well executed, it can also put a damper on the rest of the film as all of your questions are seemingly answered, but then the 
film continues for another hour. Despite this small flaw, Gone Girl is still an incredible crime drama and a beautiful work of both cinematography and acting. The film’s way of juggling the past and present timelines and placement of exposition makes the film feel much more personal and immersive, but once the questions are answered, it can seem to drag on at times. While fans of the novel may find the film adaptation lacking, Gone Girl is definitely worth the $11.
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