Tonight marked the opening of the 2014 New York Film Festival with the world premiere of David Fincher's Gone Girl -- here's Jason's take on the film.
In the deeply darkly funny world of Gillian Flynn's bestselling murder mystery Gone Girl, Nick and Amy Dunne's wedding vows are like cliffhangers or dares - in sickness and in health, for richer, for poorer, I do... she does, he does... what exactly? All manner of unspeakables, it turns out. The book's at its sharpest as a ghoulish fun-house mirror reflection of deranged marital compromise - the hollowing out of our interior spaces for the exterior presentation of platonic ideals; a jack-o-lantern propped on the front porch with a pumpkin pie in the oven, all is pretty and home and sugar and spice on the windowsill... save that horror show, smashed glass coffee tables, mopped blood, behind closed doors. And what happens when the nightmare tumbles out into the street for all the world, and all the world's cameras, to see? Who pulls the mess back in once its spilled, and how...
David Fincher's Gone Girl is at its best when it has everybody grabbing their pails and their shovels and frantically trying to scoop up those spilled Humpty Dumpty pumpkin guts and make sense of it. For a two and a half hour movie it's shockingly spry on its feet, bouncing from Clue One to Clue Two in its own emotional kind of scavenger hunt, trying to piece together the What Went Wrong And How, and in its finest moments it vibes on a surprisingly loose Coen-esque sense of danger - as the sharp tools in the shed try to stay one step forward and find themselves in up to their necks, there's fun to be had in their catch-up, watching games change and rules rewritten mid-play.