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Tag Archives: David Fincher

Gone Girl

gone girlEvery now and then a movie comes along that just hits all the right notes. For me, when this happens it is usually a film that defies categorisation. Gone Girl is such a film.

Engaging, endearing and focused turns to confronting and unnerving as this two hour adventure unravels. Just as you feel you’re approaching a defined denouement, the film takes a wild turn and plunges you back into uncertainty. It is very cleverly crafted to ensure that you know just enough to want to know more, but not enough to sit comfortably.

The film clearly presented its marketers with lots of challenges. It defies categorisation into a genre. It has multiple climaxes. It can’t be said to be “Film X meets Film Y”. And it twists like a cut snake. The resulting marketing guff that claims this story gets at the heart of a modern marriage, then, is hardly surprising. Of course it does nothing of the sort, but it does present one of the most intense and surprising films I’ve ever seen, regardless.

Ben Affleck is at his most intense, striking an excellent balance of pathos and not-really-giving-a-shit. His prevailing presence in the first substantial trajectory of the plot overshadows Rosamund Pike, who, when she gets a chance to shine, genuinely takes over as the lead character; the gone girl. Her performances truly hinge on what the audience doesn’t know, and the mystery in her character becomes the focal point as the film approaches its unnerving end.

Yes. If you like a nice and tidy conclusion to the plot, give this one a wide berth. But for a couple of hours on a roller coaster, you can’t go far wrong.

 
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Posted by on Tuesday, 21 October 2014 in American Film, Film

 

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The Social Network

Despite a few moments where truth seems to win out over storytelling, The Social Network tells a genuinely engaging story and does so with some empathy for a diversity of characters. It does this with some rather dry historical material, and it does develop a very human story, although it is a little on the superficial side.

From the opening scene, which shows not only Zuckerberg’s dumping by girlfriend Erica Albright but also the reason for it, this film is distinctively about Mark Zuckerberg. He would be an awfully boring subject, though, without the rest of this impeccable cast. The standout is certainly Andrew Garfield‘s performance as Zuckerberg’s foil Eduardo Saverin, which almost singe-handedly salvages the damage done by the awkwardness of Jesse Eisenberg‘s Zuckerberg.

Eisenberg’s depiction of Mark Zuckerberg is discomforting. Of course, it is not an easy thing to depict a living celebrity, and this particular celebrity, as the king of geekdom, must be a particular challenge, but I was left wondering what kind of human being I was seeing. At times, he seemed to be dealing with a condition on the autism spectrum, rather than merely being socially awkward, and yet even this was not consistent. At times he would suddenly animate, then return to a morose obsessive. Perhaps this impression was what was intended. For all I know, this could be exactly what Mark Zuckerberg is like, but whatever the reason, it was disconcerting.

The major strength of this film is that although it’s a story about the development of Facebook intertwined with the story of a lawsuit, both of which threaten dullness, the human element is palpable and immediate. In fact (and I can’t believe I’m saying this about an American film), I think the story could have benefited from a little more pathos around its central characters. There is a very human story here, and it barely emerges from the more technical process of depicting historical events.

I suspect that this film will date quickly. I would guess that, unless some major legal battle puts an end to Facebook, this story will be told again and again, and the best expressions of it are still to come. Hopefully some of them will be written with more concern for the characters, and will be performed with greater clarity.

 
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Posted by on Monday, 25 October 2010 in American Film, Film

 

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