Gone Girl

Directed by David Fincher and written by Gillian Flynn that is based on her novel, Gone Girl is the story of a man who becomes part of a media circus as he is a suspect in the disappearance of his wife. The film is an exploration into the world of marriage as well as revelations about that world where a man is being questioned about her whereabouts. Starring Ben Affleck, Rosamund Pike, Carrie Coon, Kim Dickens, Tyler Perry, Patrick Fugit, Emily Ratajkowski, Missi Pyle, Scoot McNairy, and Neil Patrick Harris. Gone Girl is a chilling and evocative film from David Fincher.

It’s the day of the fifth anniversary of a couple when a husband learns his wife has suddenly disappeared as he is later questioned into her whereabouts. That is sort of what the film is about as it’s really more of a study of marriage as it’s being viewed under a microscope by the media, a small community in Missouri, and the authorities. It’s a story that is told from many different perspectives as the life of Nick Dunne (Ben Affleck) starts to unravel due to not just his behavior in having to do with his wife’s disappearance but also about himself. Especially as it relates to the events in how Nick met Amy Elliot (Rosamund Pike) where they fell in love and got married until their marriage unraveled due to financial issues as well as the move from New York City to a small town in Missouri so that Nick could take care of his ailing mother. Once things about Nick’s life begins to emerge in the wake of the search for Amy, a media circus would come in to pick apart every piece of his life.

Gillian Flynn’s screenplay isn’t just this very intriguing study of marriage but also into a world where it plays into the ways a marriage can disintegrate as it’s told from not just Nick’s perspective but also through Amy from her own diary. While much of the mystery and speculation covers much of the film’s first act and parts of second act where it plays into any kind of suspicion of whether Nick had something to do with Amy’s disappearance. Especially as Nick is known to be frustrated with the marriage as it was later revealed that he was having an affair with a college student (Emily Ratajkowski) which only made him look worse in front of the media and the authorities led by Detective Rhonda Boney (Kim Dickens) and her partner Officer Jim Gilpin (Patrick Fugit). With only his twin sister Margo (Carrie Coon) on his side where they get the services of notorious defense attorney Tanner Bolt (Tyler Perry).

Much of the story’s approach to knowing what is going on showcases a world where many questions come into play about not just if Nick really did anything to Amy but also what might have drove Amy to antagonize Nick. While the script does manage to make the film be about Nick and Amy, the supporting characters in Boney, Margo, and Bolt are very compelling as Boney is just someone who is an authority figure that wants to give Nick a fair chance while Bolt is a complex individual who may be involved in Nick’s case for publicity but knows how to help him amidst the storm of controversy from the media. Then there’s Margo as she is the film’s conscience as she is someone who admittedly never liked Amy as she also scolds Nick for his affair yet is willing to defend him despite all of the shit they would go through. Adding to the genius of the film’s script is its dialogue where a lot of it has a sense of rhythm where it can play into many clues but also has some moments that are very funny which gives the film a sense of black comedy to something that is already dark.

David Fincher’s direction is truly intoxicating in the way he can create something set in a mundane small town in Missouri yet make it feel like it’s a world where there is a lot to be said. Not just in some of the compositions he creates but also in its mood where it starts off like any typical day where Nick takes out the garbage in suburbia and then drives to a bar to chat with his sister on the day of his fifth wedding anniversary. Then the film takes on a very dark mood while it gets inter-cut with these flashbacks of how Nick and Amy met where the latter is the daughter of a couple of authors who has created a series of children’s books based on Amy. Much of these flashbacks in New York City showcased a time where they were happy and quite playful but once the money starts to go away and they were forced to move to Missouri where Nick could be close to his family. Things do get dark as much of Fincher’s approach to drama does become intensified with his approach to intimate compositions and framing devices.

Once the film progresses into the second and third act, there is an element of satire in the way Fincher explores the world of the media as it showcases his offbeat approach to dark humor. Notably as such media figures like Ellen Abbott (Missi Pyle) is played for laughs as someone who has this belief that she is a crusader and is willing to smear Nick’s name without any real evidence. There’s also moments where Fincher manages to use the humor as it plays into how Nick had to present himself to the media. Still, there are elements where it is very dark as it relates to Amy’s disappearance as well as contents in her diary as it raises questions into her own past.

Especially with a former boyfriend named Desi Collings (Neil Patrick Harris) whom Amy had filed a restraining order against as he had been stalking her. It adds to the many ambiguities about the truth where it becomes more complicated as the film progresses towards its finale where it returns to that exploration into marriage. A marriage that raised many questions into why Nick and Amy even got married in the first place as the question about marriage starts to come into play. Overall, Fincher creates a very brooding yet intoxicating film about a man dealing with the disappearance of his wife.

Cinematographer Jeff Cronenweth does brilliant work with the film‘s cinematography with its unique approach to lighting as well as creating something that feels a bit discolored in its look for many of the film‘s locations as well as the way lights are presented in certain scenes as well as the TV footage. Editor Kirk Baxter does amazing work with the editing with its approach to jump-cuts and montages that plays off into the rhythms of suspense as well as some dramatic montages and some of the film‘s funnier moments. Production designer Donald Graham Burt, with supervising art director Sue Chan and set decorators Douglas A. Mowat and Gena Vasquez, does fantastic work with the look of the suburban home that Nick and Amy lives as well as the chaotic look of his father‘s home as well as the home of Margo.

Costume designer Trish Summerville does nice work with the costumes from the stylish underwear that Amy wears as well as the suits that Nick would wear in his interviews as much of it is casual in playing to the other characters. Sound designer Ren Klyce does excellent work with the sound to create some effective sound work to play into the air of suspense as well as scenes where dialogue is inaudible as well as in some of the bits of music on location that is played. The film’s music by Trent Reznor and Atticus Ross is incredible as it’s one of the film’s highlights as it’s approach to dark ambient music with dissonant guitars and electronics add to some of its melancholic tone along with some somber pieces driven by piano and ambient textures as it’s one of their best film scores.

The casting by Laray Mayfield is great as it features some notable small performances from Kathleen Rose Perkins as a search volunteer who takes a selfie with Nick, Boyd Holbrook and Lola Kirke as a young couple Amy meets in her days away from New York City, Cyd Strittmatter as Nick and Margo’s ailing mother, Leonard Kelly-Young as Nick and Margo’s elderly father, David Clennon and Lisa Banes as Amy’s parents who take the lead to find Amy as they would confront Nick about the marriage, Sela Ward as the TV host Sharon Scheiber who interviews Nick in his attempt to prove his innocence, Emily Ratajkowski as the young college student in whom Nick had an affair with, and Scoot McNairy as a former boyfriend of Amy’s whom Nick meets where they share some surprising revelations.

Missi Pyle is very funny as the sleazy TV host Ellen Abbott who tries to discredit Nick’s name and devolve herself into tabloid TV while Casey Wilson is wonderful as Nick and Amy’s dim-witted neighbor Noelle who claims to be Amy’s friend as she would provide a key aspect to the investigation. Patrick Fugit is excellent as Officer Jim Gilpin who assists Boney in the investigation as he gets to say some funny lines throughout the film as he’s suspicious of Nick. Kim Dickens is fantastic as Detective Rhonda Boney who leads the investigation as she would uncover some key clues about the case such as credit card bills and Amy’s diary while wondering about Amy and who she is. Neil Patrick Harris is superb as Amy’s former boyfriend Desi Collings whom Nick wanted to talk to as he’s a very strange figure that implies a sense of creepiness about the way he is around Amy which would explain the restraining order.

Tyler Perry is amazing as Tanner Bolt as this defense attorney who is a master in making his clients look good as Perry brings in a lot of charisma and charm as well in how to instruct Nick in doing interviews. Carrie Coon is brilliant as Nick’s twin sister Margo who is the film’s conscious as she tries to prove Nick’s innocence despite some of his flaws while she is also a target of the media where she is accused of having an incestuous relationship with her brother among other many lies. Ben Affleck is phenomenal as Nick Dunne as a writer turned community college professor who deals with the accusations of his wife’s appearance as well as realizing in how much of a fuck-up he is in his marriage as it’s a role where Affleck plays the cuckold as well as someone who can look good for the camera. Finally, there’s Rosamund Pike in an outstanding performance as Amy Elliott as this woman who had everything until financial difficulties has her becoming troubled in her marriage as it’s a role full of complexities and many layers that are just astonishing to watch as it’s a real break-out role for the actress.

Gone Girl is a tremendously dark yet powerful film from David Fincher that features amazing performances from Ben Affleck and Rosamund Pike. Along with a strong supporting cast that includes Tyler Perry, Carrie Coon, and Kim Dickens plus some great technical work and an incredible score from Trent Reznor and Atticus Ross. The film is definitely a suspense-drama that is full of intricate layers and compelling themes on marriage thanks in part to its writer Gillian Flynn. In the end, Gone Girl is a magnificent film from David Fincher.

David Fincher Films: Alien 3 - Se7en - The Game - Fight Club - Panic Room - Zodiac - The Curious Case of Benjamin Button - The Social Network - The Girl with the Dragon Tattoo (2011 film)

Related: The 15 Essential Videos of David Fincher - The Auteurs #61: David Fincher

© thevoid99 2014

At Any Price

Directed by Ramin Bahrani and written by Bahrani and Hallie Elizabeth Newton, At Any Price is the story of a father and son at odds when the latter wants to pursue a career as a race car driver while the former deals with an investigation over his farming business as it goes into chaos. The film is an exploration into the world of father and son and the sacrifices they make. Starring Dennis Quaid, Zac Efron, Heather Graham, Kim Dickens, Clancy Brown, Chelcie Ross, Ben Marten, Red West, and Maika Monroe. At Any Price is an engrossing drama from Ramin Bahrani.

The life of a farmer often endures changing times in order through modern life as the film is about a farmer hoping to keep up with the times and ensure that it will be in the right hands once its inherited to his two sons. Unfortunately, his eldest son hasn’t returned from a personal journey to Argentina while the youngest wants to become a race car driver. The tension between Henry (Dennis Quaid) and Dean Whipple (Zac Efron) is at the heart of the film as Henry tries to be in Dean’s life but Dean wants to be on his own. It’s a film that is an exploration into pride as Henry does things to keep up with the times and ensure the future of his farming business. Yet, his activities would get him in trouble forcing Dean to step in and find out who had been going after his family where both father and son would pay big prices for their sins.

The film’s screenplay doesn’t just explore this growing schism between Henry and Dean but also Henry’s own foolish ambitions as he is convinced by the people he’s working with to expand or die. The film’s opening scene after a montage of home video footage of the Whipple family has Henry talking to Dean about closing a deal as they’re attending a funeral where Henry is hoping to buy some acres of land from that family. It’s that scene where it showcases what kind of man that Henry is but also set the seeds for all of the trouble that he would create for himself and his family. While Henry sells himself as a farmer who likes to charm people and make sure he can help them. He’s a man that cheats on his wife Irene (Kim Dickens) with a mistress named Meredith (Heather Graham) who would also have a tryst with Dean as well as someone who will also cheat his way to get what he wants.

Dean in some respects is like his father as he also has ambitions but in the world of racing as he wants to make it as a race car driver but he is also a troublemaker as he drinks and steals while likes to have his girlfriend Cadence (Maika Monroe) around. Though Dean does help out in the farm and knows how to do things that makes him the more likely candidate to take over the family business that’s been passed from generation to generation. He’s not interested in taking over as he despises his dad for being very pushy as he believes that’s why his older brother Grant (Patrick W. Stevens) has left home. It’s one of the aspects that adds to the drama that makes it very engaging though things do get a bit messy in the third act when both Henry and Dean try to figure out who had put them through this mess where it would add not just trouble but also guilt in both of their parts.

Ramin Bahrani’s direction is very simple in the way he approaches the film though it is different than his previous films which were more about outsiders on the fringes of American society. Still, he manages to convey some idea of realism into his story as it does explore the world of the American farmer who are also outsiders in some respects as they don’t live in big cities. Especially as they’re dealing with a world that is changing as Henry has to keep up with the times as the order is to expand or die. Henry takes up the former in order to compete with other farmers such as Jim Johnson (Clancy Brown) but at the expense of threatening his own family business as his father Cliff (Red West) is aware of the problems his son has caused.

Bahrani’s direction is always gazing into the world of the landscape as much of it is shot on location in Dekalb, Illinois in the U.S. as Iowa as it’s a land that is very rich with its corn and wheat fields. Even in the scenes set in the race tracks showcase a sense of vibrancy and intimacy in Bahrani’s direction though things aren’t well handled in the film’s third act where it does get a bit heavy. Largely as the film leans towards something that doesn’t fit in with the drama but Bahrani does still keep the film focused on the story of father and son as well as the sins they have to deal with. Despite the flaws in its third act, Bahrani manages to create a compelling film about the world of farming and the relationship between father and son.

Cinematographer Michael Simmonds does fantastic work with the film‘s gorgeous photography with the look of the landscape in the film as well as the use of lights for much of the film‘s interior and exterior scenes at night. Editor Affonso Goncalves does excellent work with the film‘s editing by using some rhythmic jump-cuts for some of the racing scenes along with a montage in the film‘s opening credits and some straightforward cuts for the rest of the film. Production designer Chad Keith, with set decorator Adam Willis and art director Jonathan Guggenheim, does brilliant work with the set pieces from the farms that Henry operates to some of the places he and his family go to.

Costume designers Tere Duncan and Sandy Lazar do terrific work with the costumes as it‘s mostly casual and ragged to play into that look of small-town folk. Visual effects supervisor Andre Basso does nice work with some of the film‘s minimal effects which involves some of the racing scenes. Sound editor Abigail Savage does wonderful work with the film‘s sound to play into some of the natural sounds of the locations along with the layers of sounds in the racing scenes. The film’s music by Dickon Hinchcliffe is superb for its mixture of ambient and post-rock music that is the basis for the film score as the film’s music soundtrack from music supervisor Michael Hill largely consists of country and metal tracks where the latter plays into Dean’s world.

The casting by Douglas Aibel is incredible for the ensemble that is created as it includes some notable performances from Chelcie Ross as a seed farmer who needed Henry’s help only to tell Henry the severity of his troubles, Dan Waller as a young farmer Dean and Henry meets at the funeral in the opening moments of the film, Ben Marten as Jim Johnson’s son Brad who despises Dean, Stephen Louis Grush as Dean’s friend Torgeson, Patrick W. Stevens as Henry’s eldest son Grant who only appears briefly in the film’s opening montage credits, and Red West as Henry’s father Cliff who is unsure about his son’s plans as he realizes the trouble that Henry is causing. Clancy Brown is terrific as Henry’s rival Jim Johnson as a farmer who has taken one of Henry’s territories causing Henry to fire back.

Heather Graham is pretty good in an underwritten role as Henry’s mistress Meredith who helps Henry out with his moves while also having a tryst with Dean. Maika Monroe is amazing as Dean’s girlfriend Cadence who helps Henry out with regaining a territory of his while dealing with some of the issues that are causing trouble for both Dean and Henry. Kim Dickens is fantastic as Henry’s wife Irene as she is the bookkeeper of Henry’s work while being the most grounded person in her family as she also knows about Henry’s affairs. Zac Efron is superb as Dean Whipple as a young man eager to make it as a race car driver while having a hard time dealing with his father’s presence as well as the pressure of taking over the family business. Dennis Quaid is incredible as Henry Whipple as a man of great ambition who tries to keep up with the times only for his selfishness and greed would get him in trouble as he faces the sins that he’s created for himself and his son.

At Any Price is an excellent film from Ramin Bahrani that is highlighted by the performances of Dennis Quaid, Zac Efron, and Kim Dickens. While it is a more polished and accessible film in comparison to Bahrani’s previous works. It is still a captivating piece that explores the world of farming and its clash with modernism as well as an intriguing tale about fathers and sons. In the end, At Any Price is a fantastic film from Ramin Bahrani.

Ramin Bahrani Films: Man Push Cart - Chop Shop - Goodbye Solo - Plastic Bag - 99 Homes - (Fahrenheit 451 (2018 film)) - The Auteurs #55: Ramin Bahrani

© thevoid99 2014

Great Expectations (1998 film)

Originally Written and Posted at Epinions.com on 5/13/04 w/ Additional Edits & Revisions.

Based on the novel by Charles Dickens, Great Expectations is the story of a young boy's encounter with an escaped convict as he would come of age when he becomes the playmate a rich, reclusive woman's daughter. He later becomes successful through a secret benefactor as he tries to woo the girl he knew as child. Directed by Alfonso Cuaron and screenplay by Mitch Glazer, with additional work by Cuaron and narration written by an un-credited David Mamet. The film is a modern take on Dickens' story that is told through perspective of a man as he tries to court this cold-hearted woman he had known since childhood. Starring Ethan Hawke, Gwyneth Paltrow, Hank Azaria, Chris Cooper, Anne Bancroft, and Robert de Niro. The modern version of Great Expectations is a visually-lush but very clumsy adaptation from Alfonso Cuaron.

A young 10-year old boy named Finn (Jeremy Kissner) is drawing fishes in his Florida home where he encounters an escaped convict named Lustig (Robert de Niro) who is on the run. Lustig wants Finn to give him some things or else he'll kill him as Finn returns home with food, pills, and alcohol later that night as Finn later hides Lustig from the cops behind a buoy. Though Lustig would later be captured, the event would have a great impact on Finn's life as he returns home to his sister Maggie (Kim Dickens) and her kind husband Joe (Chris Cooper). When Joe decides to go to the tarnished Paradiso Perduto mansion for work, Finn goes with him where he takes a look into the house where he meets a young girl named Estella (Raquel Beaudene) who is the niece of the mansion's reclusive owner Miss Dinsmoor (Anne Bancroft). Joe receives some money as Miss Dinsmoor calls Maggie wanting Finn to be his niece's playmate every Saturday. There, Finn is encouraged to do his drawings while taking dance lessons with Estella under Miss Dinsmoor's guidance.

Years later, Finn (Ethan Hawke) and Estella (Gwyneth Paltrow) continue their time as Miss Dinsmoor suggests that Finn should accompany Estella to a party. Finn is excited but Estella isn't as the two ditch the party for a night out where Finn deals with her sudden cold behavior. After Estella leaves Florida, Finn is hurt as he gives up painting and help out Joe in the fishing trade until a Manhattan art representative named Jerry Ragno (Josh Mostel) has discovered his art and offers him a place in New York City to live and work. Finn isn't sure until an art dealer named Erica Thrall (Nell Campbell) discovers Finn's work through an anonymous benefactor as he takes the offer. Moving to NYC, Finn meets Thrall as he re-discovers his passion for art where he encounters Estella at Central Park where he learns she's engaged to a wealthy man named Walter Pane (Hank Azaria). Estella shows up at his apartment one day to pose for his work as Finn remains unsure if she's playing with his head. Though Finn manages to impress Ragno and Thrall, Walter also visits where he admits to having a hard time figuring Estella out. Finn decides to pursue her as things become more complicated through her cold behavior.

With Finn finally set to have his first art gallery presentation, he starts to seduced by success and his new lifestyle as he waits for Estella to arrive. Instead, Joe makes a visit where he feels lost in this new world as Finn tries to understand Joe's alienation while he wonders where Estella is. At Estella's apartment, he receives a surprise visit from Miss Dinsmoor who reveals that Estella is left as she feels responsible for the way Estella has behaved due to her own past as she had been left in the altar by a man years ago. Lost in his feelings for Estella, Finn meets a mysterious man from his past as he makes a big discovery about why he's successful forcing him to come to terms with his love for Estella.

The problem with most film adaptations of classic novels isn't just character omissions and missing storylines, but also the way it is presented, particularly on modern day adaptations. The film's biggest weakness is in Mitch Glazer's sup-par script, which really takes out a lot of the emotional depth and social aspect of Charles Dickens' novel in favor of something more appealing for an audience. Plus, the character development in some of the leads aren't as great and with the exception of the Lustig and Joe characters, they come across in a very unsympathetic way. The screenplay is probably the reason why Alfonso Cuaron has expressed some frustration towards the project. Instead of relying on its weak script, he had to rely on the film for its cinematic quality and lush, elegant cinematography of his longtime collaborator Emmanuel Lubezki.

Cuaron still does bring out some fine directing moments in the film's first thirty minutes involving the kids while having some fine dramatic scenes with Hawke, Paltrow, and the rest of the cast. Despite the script, Cuaron brings in a fine directing approach to the film as Lubezki shines with his approach to sunlight and the Floridian waters reflecting sun as well as his use of green colors and the sunny look of New York City as Lubezki is one of the best cinematographers in the past 10 years. Helping Cuaron and Lubezki on the film's gorgeous, dreamy visuals are production designer Tony Burrough and art director John Kasarda for its exotic, greenish look of Florida and the street, art world of New York City. Another brilliant element in its relation to art is the drawings and paintings by Francesco Clemente that are well drawn in a lovely style with its simple format of shapes and colors.

The film's music also plays well by its score from composer Patrick Doyle as it has a dramatic, dreamy tone with its string arrangements and orchestra. The film's soundtrack is as equally as strong with its diverse acts that include Tori Amos, Scott Weiland, Chris Cornell (in his first solo recording after leaving Soundgarden), Pulp, Mono, Iggy Pop, and the Grateful Dead. The only weak spot in the soundtrack is the various versions of Besame Mucho where by the third play, it becomes really annoying.

While the smaller roles from Kim Dickens, Josh Mostel, Erica Thrall, and a surprisingly restrained performance from Hank Azaria are fine to watch in their small performances. The roles of the younger Finn and Estella played by Jeremy James Kissner and Raquel Beaudene are well-played, especially in their individual moments as they carry a fresh-faced innocence and chemistry that plays well with Kissner as the more innocent Finn and Beaudene as the cold Estella. Of the supporting cast, no one delivers a finer performance better than Chris Cooper as the loveable Joe. Cooper brings a charismatic performance of a man who isn't very bright but knows how to do the right thing and he comes off in a very sympathetic and loveable way as throughout the whole film, we get to love the guy even if he's a yokel.

While Robert De Niro doesn't deliver a groundbreaking performance in comparison to his many film roles, he was excellent as the convict Lustig as he starts off very mean but in a very sympathetic way. De Niro comes off as a man, who knows what he's done to land him in jail was wrong as he found something to live for from this young boy and De Niro brings a rare, fatherly-like performance from him as he shines early and later on in the film. Anne Bancroft delivers a fine yet bizarre performance as Miss Dinsmoor as she seems to have fun dancing to Besame Mucho a lot as she comes off in a very likeable way but as the film progresses and we learn of her flaws, there isn't any real sympathy to her in the end in the same way the novel and previous film adaptations had.

In the leads, Ethan Hawke and Gwyneth Paltrow, unfortunately don't carry the same chemistry that their young principle actors carried early on in the film. There's no real spark in the relationship and whenever they get together, it feels somewhat contrived as really, you have neither to pull for. Hawke is excellent by himself or with De Niro and Cooper while unfortunately when it comes to the subject of Paltrow's Estella, he comes off as this pathetic lovesick puppy. Paltrow is sexy in some of her scenes but overall; her character is clearly the most confusing, as we're not sure if she is really in love with Finn or just playing with him. In that context, her character really comes off as unlikable and unsympathetic as Paltrow doesn't give her character a really center in this uneven performance.

Alfonso Cuaron's version of Great Expectations is a good although lackluster film due to a very weak script and the underwhelming performances of Ethan Hawke and Gwyneth Paltrow. Despite some wonderful supporting work from Anne Bancroft, Chris Cooper, and Robert de Niro along with Emmanuel Lubezki's entrancing cinematography. It's a film that is more style than substance that tries to give Charles Dickens' novel a modern feel to appeal to a younger audience. Instead, it barely scrapes the surface of what Dickens had intended with his story. In the end, Great Expecations is a worthwhile but unremarkable film from Alfonso Cuaron.

Related: Great Expectations (1946 film) - The Auteurs #11: Alfonso Cuaron

Alfonso Cuaron Films: Solo con Tu Pareja - A Little Princess (1995 film) - Y Tu Mama Tambien - Harry Potter & the Prisoner of Azkaban - Children of Men - Gravity - Roma (2018 film)

© thevoid99 2012