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Gone Girl Movie Review

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In this Gone Girl film, Rosamund Pike , Ben Affleck played the primary leads.

The Gone Girl was released in theaters on 31 Oct 2014.

The Gone Girl was directed by David Fincher

Movies like Kingdom of the Planet of the Apes , Deadpool & Wolverine , Kung Fu Panda 4 and others in a similar vein had the same genre but quite different stories.

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Gone Girl Review

Gone Girl     Rating:  3.8/5 From All the  Indian reviews on the web Showing 6 Reviews

Gone Girl  Movie Review

Ratings :4/5  Review By:   Rajeev Masand  Site:CNN IBN

The film part whodunit, part commentary on modern marriage starts off as a conventional suspense story before it slowly begins to reveal itself as something much more daring.Despite having read and thoroughly enjoyed the book already, I found Finchers film gripping and handsomely mounted, and still packing a few nice surprises. Gone Girl doesnt have the enduring appeal of one of my favorite Fincher films, The Social Network, but its a bloody good way to spend two and a half hours of your time. Im going with four out of five. Dont miss it.

Visit  Site  for more Ratings :3/5  Review By:   Raja Sen   Site: Rediff

Gone Girl is a finely-made frustration, often too polished for its own good. It’s almost as exasperating as trying to write the review for a mystery without giving anything away. For those who have read the book, all you really need to know is that Fincher criminally sucks the life out of the ‘Cool Girl’ monologue. For the rest, this is a solid mystery film that falls short of greatness. In a nutshell, to quote Nick’s magazine-writerly complaint about Amy’s diary, it rests on too convenient an endnote.

Visit  Site  for more Ratings :3.5/5  Review By:   Anupama Chopra   Site: Filmcompanion Visit  Site  for more Ratings :4.5/5  Review By:   Gavin Rasquinha   Site: Times Of India (TOI)

David Fincher (The Social Network, Fight Club, Se7en, etc.) and screenwriter Gillian Flynn (on whose novel the movie is based) have hit the bulls-eye. The story is told mainly with two perspectives up to a point. Nick returns home on the day of their wedding anniversary to a shocking scene. Evidence of a violent struggle abounds. His wife is gone. What’s more disturbing is that the story of Nick and Amy could be a study of any married couple in love with their own projection of a soulmate rather than who their partner really is. This is a ‘missing person’ story turned completely on its head. Do not miss this one.

Visit  Site  for more Ratings :4/5  Review By:   Tanaya Ramani   Site: Bookmyshow

There is not a single dull moment in the film. Accompanied by the brilliant cinematography of Jeff Cronenweth and the haunting background score by Trent Reznor and Atticus Ross, David Fincher has once again given us a perfect thriller. It might sound a tad cheesy, but how can you miss a David Fincher film? Do we seriously need a reason here? Based on the global bestseller by Gillian Flynn, Gone Girl is the perfect thriller you are craving for. Watch it for Rosamund Pikes impeccable performance. Enough said.

Visit  Site  for more Ratings :–  Review By:   Deepanjana Paul   Site: Firstpost

For better or for worse, in India, we see Gone Girl without distractions like s**. This means we follow a story and that’s where things get both interesting and disturbing. The twists in Gone Girl the film aren’t as gasp-inducing as they are in the novel upon which it’s based. But Fincher’s version is significantly more twisted than the book.

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“Gone Girl” is art and entertainment, a thriller and an issue, and an eerily assured audience picture. It is also a film that shifts emphasis and perspective so many times that you may feel as though you’re watching five short movies strung together, each morphing into the next.

At first, “Gone Girl” seems to tell the story of a man who might or might not have killed somebody, and is so closed off and alienating (like Bruno Richard Hauptmann, perhaps) that even people who believe in his innocence can’t help wondering. His name is Nick Dunne ( Ben Affleck ). He’s a college professor and a blocked writer. His dissatisfied wife Amy ( Rosamund Pike ) disappears one day, prompting local cops to open a missing persons case that becomes a murder investigation after three days pass without word from her. Amy and Nick seemed like a happy couple. The snippets from Amy’s diary, read in voice-over by Amy and accompanied by flashbacks, hint at differences between them, but not the sort that seem irreconcilable (not at first, anyway). Were things ever really all that sunny, though? If they weren’t, which spouse was the main source of rancor? Can we trust what Nick tells the homicide detectives ( Kim Dickens and Patrick Fugit , both outstanding) who investigate Amy’s case? Can we trust what Amy tells us, via her diary? Is one of the spouses lying? Are they both lying? If so, to what end? 

The film raises these questions and others, and it answers nearly all of them, often in boldface, all-caps sentences that end with exclamation points. It is not a subtle film, nor is it trying to be. As directed by David Fincher (“Se7en,” “ Zodiac “) and as adapted by Gillian Flynn from her bestselling potboiler, “Gone Girl” suggests one of those overheated, fairly comic-bookish “R”-rated thrillers that were everywhere in the late ’80s and early ’90s. Like those sorts of pictures, “Gone Girl” is dependent upon reversals of expectation and point-of-view. As soon as you get a handle on what it is, it becomes something else, then something else again. Describing its storyline in detail would ruin aspects that would be counted as selling points for anyone who hasn’t read Flynn’s book. That’s why I’m being so vague. 

Suffice to say that its explicit sex and violence and one-damn-thing-after-another, to-hell-with-realism plotting put it in the “ Basic Instinct “/” Fatal Attraction “/” Presumed Innocent ” wheelhouse. It is a  metafictionally- minded version of a bloody domestic melodrama that actually uses the word “meta” (in a scene where Nick and the cops discuss his bar,  which  is named The Bar). It ties much of its mystery plot to an anniversary scavenger hunt with clues enclosed in numbered envelopes marked “clue.” Key scenes revolve around public statements that are in some sense performances, and that are evaluated by  onlookers  in terms of their believability.   

And yet it never crosses the line and becomes too much a deconstruction or parody.   It’s a plot-obsessed picture that’s determined to stay one step ahead of  the  audience at all times, and cheats when it feels it has to. It is a perfect example of a  sub-genre  that the  great critic Anne Billson has labeled “ the preposterous thriller, ” in which “characters and their behavior bear no relation not just to life as we know it, but to any sort of properly structured fiction we may have hitherto encountered.” 

Many classic and near-classic films can be slotted into this sub-genre. One of them is Alfred Hitchcock’s “ Vertigo ,” a film in which the bad guy’s scheme makes no sense if you think about it for longer than thirty seconds and that, in any event, would have unraveled had even the smallest part of it not gone precisely as envisioned . (How did Gavin and imposter-Maddie get out of the bell tower, anyway, without  being seen by anybody, including Scottie? Was there a second stairwell? )  After  “Gone Girl” I overheard a couple listing all the dropped plot threads and  narrative holes big enough to hide aircraft carriers in. This isn’t the sort of movie that can withstand that kind of scrutiny. You might as well say, “That part in my dream where the penguin told me where to dig for the treasure seemed unrealistic.”

What of “Gone Girl” as a parable of gender relations, one that eventually takes an ugly misogynist turn? I’ve heard these  charges  leveled, and they have merit. You’ll understand what I mean once you’ve seen the movie. At the same time, though, as we evaluate those complaints, we owe it to Flynn, Fincher and everyone involved to take into account what sort of film this is, what mode it’s operating in, and how transparent it is about what it’s doing, how it’s doing it, and why. “Gone Girl” is a nightmare of love gone cold and a relationship gone south, coupled with an elaborate revenge fantasy that both exploits and reclaims sexist images and assumptions. It’s  also  a film about a psychopath who turns an ordinary life into chaos.  Like a lot of Hitchcock—and like certain domestic nightmares by such filmmakers as Brian De Palma and Luis Bunuel —each scene in the movie refers, however obliquely, to real fears, real emotions and real configurations of love or friendship. But at the same time, not a single frame is meant to be taken literally, as a documentary-like account of how people are, or should be, or shouldn’t be. It’s working through primordial feelings in the manner of a blues song, a pulp thriller, a film noir, or a horror picture. 

These modes all trade in stereotypical views of the essences of masculinity and femininity. All are politically incorrect by definition. All seem to have had at least some bearing on “Gone Girl.”  The  movie is sick joke, a fable and a lament. It’s “He done her wrong” and “She done him wrong.” It’s “Men are spineless pigs” and “Hell hath no fury like a woman scorned.”  If you make blanket assumptions about what men and women are capable of, and the  circumstances  under with they’re capable of it, this film will confirm them. “Your chin,” Amy tells Nick in a flashback, “it’s quite villainous.” He covers it up with his finger, but now that she’s pointed it out, you can’t not stare at it.  

The most intriguing thing about “Gone Girl” is how droll it is. For long stretches, Fincher’s gliding widescreen camerawork, immaculate compositions and sickly, desaturated colors fuse with Trent Reznor and Atticus Ross’s creepy-optimistic synthesized score to create a perverse big-screen  version  of one of those TV comedies built around a pathetically unobservant lump of a husband and his  hypercontrolling, slightly shrewish wife. For most of its running time, “Gone Girl” is  “Everybody Loves Accused Wife-Murderer Raymond,” sprinkled with colorful-verging-on-wacky supporting players ( including   Tyler Perry as a Johnnie Cochran-like defense attorney and Neil Patrick Harris as a former flame of Amy’s who’s still obsessed with her). Then it takes a right turn, and a left turn, and flips upside down. 

I’m not saying the film is genuinely clever throughout (though it is always fiendishly manipulative) or that every twist is defensible (a few are stupid). I’m saying that “Gone Girl” is what it is, that it knows what it is, and that it works. You know how well it’s working when you hear how audiences laugh at it, and with it. Their laughter evolves as the film does. They laugh tentatively at first, then with an enthusiasm that gives way to a full-throated, “I endorse this madness!” gusto during the final half-hour, when the story spirals into DePalma-style expressionism and the picture becomes a maelstrom of blood, tears and other bodily fluids. There are allusions to the O.J. Simpson case, “ Macbeth ” and “Medea,” and the ending is less an ending than a punchline that’s all the more amusing for feeling so deflated. 

That it’s  hard  to tell whether Fincher has an  opinion  on anything he’s showing us or is just sadistically bemused, like an evil child tormenting insects,  somehow adds to the movie’s dark vibrancy. This director is a misanthrope, no question. But misanthropes can be entertaining, and “Gone Girl” is that—not just in the scenes where women see through men and other women with furious contempt, but in throwaway moments, such as when an unseen man yells “Louder!” at the beleaguered Nick during a  press  conference, and when the film shows tourists gathered in front of Nick’s bar, taking  selfies. This  is a sick film, and often brilliant.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor-at-Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

• Tyler Perry as Tanner Bolt
• Patrick Fugit as Detective Jim Gulpin
• Ben Affleck as Nick Dunne
• Missi Pyle as Ellen Abbott
• Rosamund Pike as Amy Dunne
• Neil Patrick Harris as Desi Collins
• Kim Dickens as Detective Rhonda Boney
• Casey Wilson as Noelle Hawthorne
• Carrie Coon as Margo Dunne

Original Music Composer

• Atticus Ross
• Trent Reznor
• David Fincher
• Gillian Flynn

Director of Photography

• Jeff Cronenweth
• Kirk Baxter

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Gone Girl review: Dark and disturbing, this is one thriller you shouldn't miss

David fincher's gone girl is a thriller for grown-ups. it is stylish and provides you edge-of-the-seat suspense while posing intricate questions about men, women and the marriages they make..

David Fincher

Ben Affleck, Rosamund Pike, Neil Patrick Harris

‘What are you thinking?’ ‘How are you feeling?’ ‘What have we done to each other?’ These are the normal give-and-take of modern married life, those questions which so frustrate and amaze us at times. But they have never sounded as chilling or as disturbing as they do in

Ben Affleck is the one voicing these ‘primal’ questions even as we see a pretty blonde head on the screen. Things couldn’t be too golden for the blonde head in question (pun intended) because Affleck goes on to say, “I imagine cracking open her head, unspooling her brain, trying to get answers.”

So, we establish one thing early on, a romance this is not but a sick –yet very satisfying – unravelling of a modern-day marriage. Affleck plays Nick Dunne, the husband, and the Rosamund Pike is his wife Amy Elliott Dunne and nothing is right with their world.

She goes missing and he is not exactly devastated. Star of Amazing Amy books since her childhood, written by her psychologist parents, Amy’s disappearance turns her into a media darling. Even as searches and vigils are organised for her, Nick’s lies and smug persona make the tabloid audience question – is he the one who killed her.

Their back story does not help either – they were both writers in New York before recession and Nick’s mother’s cancer forced them to relocate to depressed Missouri. In terms of money, all they have is a trust fund in Amy’s name.

To say any more would lessen your watching experience of this chilling thriller which has enough twists and turns to keep you glued to your seat. For all you book aficionados who want to know if director David Flincher (The Girl with the Dragon Tattoo, Se7en) is true to Gillian Flynn’s bestseller on which the film is based, the answer is largely. However, he has done away with the wit and the lighter moments of the novel and made it deeper and darker. Fincher never brings it to a boil but instead keeps you simmering till you cannot take it anymore.

As the husband and wife both have their say (she through diary excerpts that we keep on hearing), the film runs more like ‘who to believe’ than ‘who did it’. Just like an onlooker watching the slow death of a marriage, you are hard pressed to understand who’s saying the truth, or, in fact, if there is a ‘truth’ in situations such as this.

The lead actors and its first-class supporting cast give the film its intensity. In one of his better performances, Affleck is utterly believable as the clueless husband in a troubled marriage. The real revelation of the film is Pike. She beautifully juggles the various moods of her character and goes from manipulative to vulnerable in the fluttering of an eyelash. Her expressive reading of diary entries just heightens the sense of dread, the feeling of something terrible just about to happen.

Tyler Perry as smooth-talking lawyer whose speciality is saving husbands guilty of killing their wives, Kim Dickens as the detective investigating the case and Carrie Coon as Nick Dunne’s sister Margo are perfectly cast. The only misfit in terms of casting is the highly talented Neil Patrick Harris who looks like a caricature of the obsessed lover in the film.

At two hours and 25 minutes, the film is quite long but we would not want to change a thing about it. The film works more as a formulaic thriller which has more style than substance but when you walk out of the theatre you are thinking of men, women and marriages they make. It leaves you disturbed and sometimes, that is a good thing.

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Movie Review: 'Gone Girl' a gripping psychological thriller

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Gone Girl movie review: Two Sides of the Same Coin

For, if there are two sides to every story, few are held as dear as in a marriage....

DIRECTOR: David Fincher

CAST: Ben Affleck, Rosamund Pike, Neil Patrick Harris, Tyler Perry, Carrie Coon, Kim Dickens

Ratings: ****

“WHO are you?”, “What have we done to each other?”, “What will we do?” Gillian Flynn talks about questions such as these “stormclouding over every marriage” in the third paragraph of her gripping story about a relationship from hell. Or, is it? The beauty of Gone Girl was how it made it all seem plausible when suddenly it didn’t.

For, if there are two sides to every story, few are held as dear as in a marriage — both of which the book perfectly understood. The problem always was going to be how to translate its gradual transitions as well as unexpected twists onto the big screen. In that, Flynn, also the screenwriter, couldn’t have asked for a better director than David Fin-cher, the clever exponent of tense relationships, misogynist protagonists, orchestrated violence, and people living double lives (Se7en, Fight Club, The Social Network, The Girl With The Dragon Tattoo).

From his first scenes of the North Carthage town, Missouri, Fincher establishes a place and people keeping up appearances as things go to seed. Then the camera moves in, into the Dunne’s sparkling but strangely lifeless home with Nick (Affleck) looking like a boy lost within it. In his stubble, ill-fitting shirts and awkward manner, Nick appears more at ease in his twin sister Margo’s (Coon) shabbier lived-in home or the downmarket bar they own together.

Following the pattern of the book, the film establishes that this is the day of Nick’s wife Amy’s (Pike) disappearance. And proceeds to tell the story of their marriage from his point of view, as told to the cops, and her point of view, as recorded in her diary. Her entries, written with pen or pencils with girly designed tops at their ends, are happy and excitable before taking a dark, ominous turn.

Unfortunately, this is the portion of the book Fincher decides to economise on, moving on to the stage where we realise that Nick and Amy’s stories don’t match and that their lies don’t add up to the same truth too quickly.

Once that is done though, Fincher handles the second act deftly, establishing the clash of cultures, classes, big city and small city, truth and media hype, even as he is steering through the story of Nick and Amy. Whether it is the smug he in front

of the cameras, or the confident she in the midst of people she has never had to deal with, both are out of place. You almost feel sympathy for the two people you are clearly not meant to like, Amy’s parents, who modelled a successful series of children’s books on their daughter that is as much about her as how they view her. Eager to please but quick to judge, they stick out like sore thumbs among Missouri’s crowd.

Fincher gets good work out of the other actors in smaller roles here, including Coon, who grows into the role of the supportive sister, and especially Detective Boney (Dickens), the only one interested in the frank, unembellished truth.

However, none deserves applause more than Pike, who is astonishing in not only how she makes the shifts in character and looks required of her, but also makes us startlingly see what drives Amy. She also dominates her men completely, be it the strong, cleft-chinned Nick, or the too-sly, too-dapper Desi (Harris).

Nick is meant to be the mamma’s boy, who never grew out of trying to impress others. Flynn’s story is full of strong women who clearly see him for what he is. Affleck, who has had a taste of both being led by women and liked and hated by the media, lets his Nick do the talking.

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Gone Girl: Release Date, Trailer, Songs, Cast

• Release Date in US 3 October 2014
• Release Date in India 10 October 2014
• Language English
• Dubbed In German, French, Italian, Spanish, Portuguese
• Genre Drama, Mystery, Thriller
• Duration 2h 29min
• Cast Ben Affleck, Rosamund Pike, Neil Patrick Harris, Tyler Perry, Carrie Coon, Kim Dickens, Patrick Fugit, Missi Pyle, Emily Ratajkowski, Casey Wilson, Lola Kirke, Boyd Holbrook, Lisa Banes, Sela Ward, Scoot McNairy, Scott Takeda, David Clennon, Kathleen Rose Perkins
• Director David Fincher
• Writer Gillian Flynn
• Cinematography Jeff Cronenweth
• Music Trent Reznor, Atticus Ross
• Producer Arnon Milchan, Joshua Donen, Reese Witherspoon, Ceán Chaffin
• Production Regency Enterprises, TSG Entertainment
• Certificate 18+

About Gone Girl Movie (2014)

Based on Gillian Flynn's bestseller of the same name, this psychological thriller flick spills the secrets of a modern and twisted marriage.

A former New York-based writer Nick Dunne (Ben Affleck) and his glamorous wife Amy (Rosamund Pike) portray a power-couple image to the public.

But after Amy goes missing on the couple's fifth wedding anniversary, amidst the media drama, Nick becomes the prime suspect. Will he be able to convince detectives that he's innocent?

Gone Girl Movie Cast, Release Date, Trailer, Songs and Ratings

Gone Girl Movie Trailer

Gone girl movie songs.

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