Screens From a Marriage: Fincher Makes Pulpy Lemonade
Undoubtedly one of 2014′s most anticipated titles, David Fincher’s adaptation of Gillian Flynn’s bestseller, Gone Girl finds the filmmaker once more dipping into the realm of pulpy beatitude, following the auteur’s last feature, 2011’s rehash of The Girl with the Dragon Tattoo. Sure to entice fans of the source novel, Fincher’s mesmerizing exercise contends to examine the mechanisms that support the notion of coupledom and marriage, revealing the underbelly that lurks behind the personas we present to polite society when ripped apart by sensationalism, here in the arena of frenzied media. Part satire, mystery, thriller, and character study, it’s a potent mix of rhythms rather precisely patterned by Fincher. Taut and surprisingly funny in its grim certainties about the parts of love and courtship not whispered about in songs or poetry, you’ll skate through its extensive...
Undoubtedly one of 2014′s most anticipated titles, David Fincher’s adaptation of Gillian Flynn’s bestseller, Gone Girl finds the filmmaker once more dipping into the realm of pulpy beatitude, following the auteur’s last feature, 2011’s rehash of The Girl with the Dragon Tattoo. Sure to entice fans of the source novel, Fincher’s mesmerizing exercise contends to examine the mechanisms that support the notion of coupledom and marriage, revealing the underbelly that lurks behind the personas we present to polite society when ripped apart by sensationalism, here in the arena of frenzied media. Part satire, mystery, thriller, and character study, it’s a potent mix of rhythms rather precisely patterned by Fincher. Taut and surprisingly funny in its grim certainties about the parts of love and courtship not whispered about in songs or poetry, you’ll skate through its extensive...
- 10/2/2014
- by Nicholas Bell
- IONCINEMA.com
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