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GONE GIRL unearths the secrets at the heart of a modern marriage. On the occasion of his fifth wedding anniversary, Nick Dunne (Ben Affleck) reports that his beautiful wife, Amy (Rosamund Pike), has gone missing. Under pressure from the police and a growing media frenzy, Nick's portrait of a blissful union begins to crumble. Soon his lies, deceits and strange behavior have everyone asking the same dark question: Did Nick Dunne kill his wife? (20th Century Fox)

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novoten 

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English This seemingly careless directorial style, in which every scene has its place, is slowly starting to bother me. Because it has never been as impersonal in David Fincher's interpretation as it is here. And if a dramatic thriller, whose essence lies in relationships, lacks even a hint of chemistry or tangible emotions between Nick and Amy, that's a disappointment. And if they also lack it in those moments when they are supposed to be a couple in love or overflowing with hatred, I realize that I am not getting nearly as much as I would like – and probably should, considering the topic. The complicated journey of the lost girl and the people around her is significantly less sophisticated or surprising than it promises most of the time. Relationships may be hard work and a science – but they're definitely not like this. ()

DaViD´82 

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English When an author adapts his own (so complex) work for the silver screen, it rarely bodes well because there is too much personal involvement. This doesn’t apply to Flynn, who wasn’t afraid of cutting up and changing her "mirror holding, not-so-much-crime-thriller, satirical, cynical bestseller about relationships" to suit the needs of another medium. So she got rid of everything not directly related to the central storyline. Due to this there is drastically less about those two (and so the main snag with the original book, that these two are puppets who behave according to the momentary needs of the story and that they aren’t living characters, becomes much more apparent) and more about the investigation storyline and the influence of the media on public opinion. And so the movie did include Nick’s unfulfilled ambitions as a writer and Amy’s magazine quizzes in everyday practice. Even the diary entries are edited to the bare minimum; it’s simply whittled down to a stump. And as much as this approach didn’t work in the book, the better it works on the movie screen; especially Fincher’s so apt, coolly depersonalized concept which is taken a level higher by the disquieting hypnotic background music from the Reznor/Ross duo. In any case, the most important parts of the book remained. The evolution of the Nick/Amy relationship is cleverly written, like the best horoscopes. I mean in a way that any couple in a long term relationship can recognize themselves in some respect (I’m talking about the first half here). And in this situation you might take it personally, because this creates the impression that "this could happen to you too". If it isn’t happening already... ()

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Malarkey 

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English Gone Girl is a really good atmospheric drama, the kind probably only David Fincher can make. But that’s my problem – whenever I see Fincher and a thriller, I expect something in the vein of Seven. But as opposed to this flick, everything about Seven was perfect. In this case, the movie is close to perfect, which is also why I was originally going to give it a five-star review. But as time went on, I decided to take one star off because there were things in the movie that messed up the perfection. Take for instance Neil Patrick Harris. His character was good, but I’d never cast him into a serious thriller like this. He simply doesn’t belong into movies like that, no matter how hard he tries. You may have noticed that nobody even mentions him here. By contrast, Rosamund Pike puts in a performance that will be really hard to ever to surpass for her. I hadn’t seen such a good performance in a long time and I will not forget it any time soon, if ever. Despite her perfect performance, you still have Ben Affleck, about whom I really don’t know what to think. I definitely wouldn’t say he’s stiff, which is what a lot of people here are saying, I simply didn’t know where to put him. It seemed to me he had no opinions of his own and I still feel the same way. Well, and these three actors portray probably the three most important characters in the movie. And that’s where it all starts from and also what it lives and dies with. As regards the story, it’s absolutely clear to me why Fincher had picked it. The same way it was clear to me why he’d picked the ‘Millennium Trilogy’. It’s obvious that he likes stories like these. He simply loves the unexpected twists. Let me just add that this movie didn’t get five stars because the ending was cut off unnecessarily fast. I would have expected some kind of conclusion that would knock me off my feet and that I could keep thinking about without having to get back to the movie as a whole. Simply some knock-out ending. Something similar to what you get in Shutter Island. Unfortunately, that didn’t happen, hence the four-star review. At the same time, I think that it is one of the best movies Fincher has ever made. If he just went on making movies like this, I wouldn’t mind at all. ()

Isherwood 

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English Bitching about Fincher playing it safe is like badmouthing Jagr for his hockey finesse and scoring goals. This narrative, directed with the precision of a neurosurgeon, for whom the camera is the scalpel and the music the anesthetic, precisely doses the marital crisis with a cool detachment, in which the apparent waters of detachment are navigated by actors who have every letter of the script pinned directly to their bodies. Affleck's worldliness with the hallmark of a small-town dweeb works, but Rosamund Pike reigns supreme. Their interaction is something you experience on screen once or twice every three years. It’s a perfectly polished film that knows it and isn't ashamed of it. The first and last shots are divine. ()

POMO 

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English Gone Girl is a compact mosaic of events chiseled to perfection. Surgically confident and precisely timed in every scene and every shot. That is why, and for my admiration of David Fincher’s talent, I regret that it is also very cold and impersonal. That it does not allow the audience to engage, only to observe from a distance. That’s all part of the maestro’s game, but it’s a shame. Electronic music composers Trent Reznor and Atticus Ross once gave the musical identity to the world of heroes who created an internet phenomenon out of ones and zeros. Original and effective. But what is this detached, chemical-like music doing in the story of a relationship between two people? Wouldn’t Gone Girl be an even better movie had it been driven by passion and emotion? It is a film about the disintegration of a marriage that looks and sounds the same as Steven Soderbergh’s thriller about a lethal global virus. ()

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