A Week In Film

Gone Girl

David Fincher’s 10th film and his best since Fight Club. A crime thriller based on Gillian Flynn’s New York Times best-selling novel.

How far would you go to establish and then correct the weaknesses of your marriage? Amy Dunne disappears on the 5th anniversary of her marriage to Nick Dunne. A murder staged in their house becomes a national story.

What is actually going on? Gone Girl is a murder mystery and cynical sexual thriller which happily reveals very little of what’s going on before swiftly moving along to the next piece of the puzzle.

To avoid plot spoilers, of which it is hard to do, I’ll state simply: it’s fantastic. A real return to form for Fincher who has dazzled with House of Cards and the Social Network but disappointed with The Girl With The Dragon Tattoo and The Curious Case Of Benjamin Button. Gone Girl is gripping, terrific and sublime in keeping the audience guessing at every twist.

You really do engage with the characters – interchanging between loving and loathing. Nick and Amy are one moment cute young lovers but develop into down right contempt for each other the next. Affleck and Pike are outstanding respectively. Rosemary Pike develops with every passing set piece. She is a stand out part.

Gone Girl reminded me of Steven Soderburgh’s Side Effects in some respects but Gone Girl is far more thrilling, sinister, witty, visually appealing and sound enhanced. It’s source material is far superior and Fincher should be damn proud of what’s he’s achieved. It’s up there with one of the film’s of the year.


What We Did On Our Holidays

From the writers of Outnumbered it really did feel like Outnumbered the Movie. It’s wonderfully funny and delightful opening is deconstructed by the bizarre event of the young grandchildren setting their grandfather on fire after his death. I found it hard to retain any interest after this odd event. It’s comic darkness didn’t seem to match the charming first half.


A Most Wanted Man

There is nothing that this film could do to change the perception of the late Philip Seymour Hoffman. The film – an adaption of John Le Carre’s novel is flawed. It is rather self-indulgent and very thin on plot. Whilst the visuals of Hamburg are classy: the camera spends often too long looking at, for a better word – nothing.

However Hoffman’s Central performance is stunning. He holds an onscreen presence far and away stronger than most of his peers. The intensity of his performance keeps you hanging at every moment he is on screen. It’s very much about him.



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