Gone Girl

Gone Girl ★★★★½

David Fincher's cynical, destructive rendition to Scenes of a Marriage is clearly more than banal arguments between husband and wife. It's about the deceptive masks they wear (either towards siblings, friends, officers, lawyers and the media etc.) how these masks operate when they're together or apart, and most grippingly, when the masks begin to crack under closer investigation.

Marriage is hard, romance is dead, and trust issues have become a massive forefront inside their home. Much is unspooled upon Rosamund Pike who's Oscar-worthy performance shines light toward two masterclass sequences: Cool Girl montage (this is seriously ten minutes of jaw-dropping brilliance) and one featuring Neil Patrick Harris which deserves to be placed in the crowns of cinematic history.

Affleck also gets the stone-faced cypher down-pat, revealing layers to himself, just as intriguing like the rest of Flynn's labyrinthe screenplay. Supporting performances are perfectly capable. Coon's the most impressive of them as dedicated, loving sister, Perry's bitingly comic and Dickens is always perceptive. With all of this praise, a flaw to the pulsated if any, it's hardly alive. Especially the initial 30 minutes which are serviceable at best.

Still, the atmosphere retains. Guttural frequencies forebode real hard. Collaborating for the third time with Fincher, composers Trent Reznor and Atticus Ross have engineered a score that grinds your brain. There's peculiar distortion in the vein of Under the Skin.

The disintegration of a marriage is keenly detailed, the narration is intentionally misdirecting, and most of developments unfold in pulpy plotting. Extremely good stuff.

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