GONE GIRL (2014)


Ben Affleck (Nick Dunne) continues to prove that he can act and is capable of layering a character. He’s already proven himself adept at directing three very intelligent films to date (Gone Baby Gone, The Town and the Oscar winning Argo). Here, he has the challenge of creating a character that is flawed and three-dimensional and does a great job.

David Fincher directs this intelligent thriller based upon Gillian Flynn’s bestselling novel about a woman who goes missing and the husband who is left behind. To say anymore would be to do the viewer a great injustice. No spoilers here.

Rosamund Pike as Amy Dunne cements her status as legitimate leading lady, although how much depth she has an actor… She delivers a decent enough performance but we are not always allowed in and this may be a problem in future work.

Carrie Coon is great as Nick’s twin sister, Margo, and arrives on the scene after showing her chops in the recent HBO series, The Leftovers. Kim Dickens plays the right side of world-weary as the detective assigned to the missing persons case, Detective Rhonda Boney. She is always brilliant; fantastic in Deadwood and a joy in Treme and Patrick Fugit (Almost Famous) plays her sidekick, Officer Jim Gilpin well.
Tyler Perry announces his intention of being treated as a serious actor playing the celebrity lawyer, Tanner Bolt and is present enough for you to buy his work.

Avoiding all reviews or write-ups about this film before I’d seen it as I wanted to approach it with no knowledge in order to experience it free of any pre-conceptions. Surely, the best way to see any film, right? Apart from the more extreme side of cinema, where a warning sticker would separate the weak of heart from the crazy, bungee-diving audiences.
But, I digress, the pedigree is present, so let’s see.

Trent Reznor and long-time collaborator Atticus Ross create an amazing soundscape that never infringes upon the piece nor allows you to feel settled.

This is the third time they have scored a Fincher film, taking home an Oscar for Best Soundtrack for The Social Network and also, The Girl With The Dragon Tattoo. Their soundtracks have been have been pigeon-holed into such genres as Dark Ambient, Post-industrial experimental and electronica for the ad-men but it is not so easy to categorise. The use of ambient electronic  sounds to create a Lynch-like unsettledness adds to the film perfectly.

Fincher is a master of brilliantly creating a world where the audience is left guessing until he feels it time to reveal and he does just that here.

A brilliant thriller that may just make some waves at the Oscars next year.


What did you think?
Please feel free to leave a comment if you agree or not with my thoughts.
All discussions welcome. (Excepting trolls, who are not welcome :O)).




The evolution of cinema; the battle between celluloid and digital.

The old wise master and the young padwaan upstart.

This is a new world, as it changes and technology grows the facilities become clearer, improved, maybe not with the exact quality as the original but with freedom to do more, just differently.
Can film survive our digital future?

The death of the old master.

Keanu Reeves produces and acts as the interviewer in this fascinating documentary about the birth of digital film technology and the experience and artistic possibilities that celluloid film has.

One can see the many benefits of this new technology that is taking over and shoving celluloid out of the way. The new alpha. There is a certain look that shooting on film gives that digital has yet to fully emulate.

It is like the difference between the beautiful, spacious delivery of music played on a piece of vinyl to the compressed, generic sound of the cd format. Sure, the higher the quality of digital used (FLAC) the more sounds you will hear but it will never be the same as sticking Miles Davis’ A Kind of Blue on your turntable and hearing it with all that space.

The same can be said for digital film, especially for purists, for most, as long as it looks good then no problem. There will always be the vinyl/celluloid pimps out there flying the banner high for their religion of choice and that is a good thing.

Change will happen whether one likes it or not. The world is in a constant state of flux, so as it twists and turns it is becoming increasingly futile to try and hold onto the old without acknowledging or even embracing the new.

Lots of big directors are featured here, George Lucas and James Cameron obviously but also Martin Scorsese (3d Hugo), Richard Linklater, David Fincher, David Lynch, Steven Soderbergh, Robert Rodriguez as well as a plethora of lauded cinematographers (Walter Murch, Roger Deakins), editors and colourists all eschewing their wonderful, informed, expert opinions on the subject in hand.

Ultimately, if you are a fan of cinema, this will surely educate and enlighten you on the ways of the cinematic technology.

Film or Digital…you decide….you decide.