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Gillian Flynn. Trent Reznor Atticus Ross. Showdown: 'Shutter Island' Vs. Post-Thanksgiving Weekend - Best Holds. Opening Weekends - October. Opening Weekends - Fall.
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- World Development Indicators 2004 (World Development Indicators).
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Ninth Weekends. Most Weekends at 1 non-consecutive. Most Weekends in Top 10 non-consecutive. Most Weekends in Top 5 non-consecutive.
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Consecutive Weekends At 1. Consecutive Weekends In Top Consecutive Weekends In Top 5. Third Weekends. Fifth Weekends. Sixth Weekends.
Seventh Weekends. Smallest Drops, All Wide Releases. Rated R, Opening Weekends. Widest Opening Releases. Widest R Rated Releases. 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.
The Gone Girl backlash: what women don’t want
That's why I'm being so vague. It ties much of its mystery plot to an anniversary scavenger hunt with clues enclosed in numbered envelopes marked "clue. And yet it never crosses the line and becomes too much a deconstruction or parody. 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. Was there a second stairwell? 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?
You'll understand what I mean once you've seen the movie.
Real Gone Girl – Works by Miriam Libicki
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. 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. 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. It's "He done her wrong" and "She done him wrong. Then it takes a right turn, and a left turn, and flips upside down.
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. There are allusions to the O. 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. This director is a misanthrope, no question.