bittah.com!~ [Movie] Gone Girl (2014)

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Post » Sun Oct 19, 2014 6:52 pm

[Movie] Gone Girl (2014)

[One-Liner]
- OK so he... but she... and then they... OK :monkey:

[Plot]
- Not going to say much about this except... well... it's not what the trailer suggests at all
- Nick Dunne returns home one evening to find evidence of a break-in and his wife missing
- Police get involved and uncover an unhappy, abusive marriage with a wife fearful of her husband
Spoiler: Show
- Or do they
[Pros]
- Ben Affleck... not sure what exactly it is that pisses me off about him, but I could totally dislike his character
Spoiler: Show
initially
- All the acting in general (see below though) is excellent, and only adds to the tension
- Name of the movie is a great move
Spoiler: Show
Is she "gone" because she's missing or because she's a fucking lunatic
- And especially that
Spoiler: Show
she gets away with it... I really like that this doesn't have a happy ending... spouses beware
[Cons]
- Ben Affleck... his acting when he needed to really sell the torment his character was going through really didn't work for me
- Reese Witherspoon gets a nod for Producing this? Yeah not convinced on the impact of that one tbh...

[Rating]
4.5 KFC buckets out of 5, it's getting a lot of good reviews and rightly so
KFC
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Post » Thu Oct 23, 2014 4:32 pm

The best thing about Gone Girl is that it reaffirms the delusional beliefs of these idiots (because they are reading the movie wrong):

http://www.reddit.com/r/MensRights/comm ... _girl_yet/
http://www.reddit.com/r/TheRedPill/comm ... _analysis/

Maybe Gone Girl will become their bible.

The best bit of the movie was probably when the camera shows us the calendar, and Amy has gotten "Kill Self?" post-it notes on like, 6 different dates. It's dark and funny, and in a movie with a surprising number of comic-relief moments, and stands head-and-shoulders above the rest.

As usual, Fincher has crafted such a meticulous film. When Amy slices the throat of Neil Patrick Harris and is sprayed with his blood, her hair remains untouched and perfect. It's such a great little detail, and adds to the surreality, or perhaps even unreality of the film.

It seems a common response to the film is that it mocks misogyny (or is misogynistic, which is an even more problematic viewpoint), with Amy basically being every woman-hater's 'fear'. I think how 'America' lapped it all up was probably a more damning indictment, though. It's just such a cynical movie, with Nick (Affleck) and Amy (Pike) both engaging in elaborate character assassination in order to 'win' the crowd's belief.

I thought the perspectives in this film were really quite complex. For example, for the first half of the film, Amy is noticeably absent. All we get of her are the 'flashbacks' that she has largely fabricated to their budding romance in New York, and the comically over-written, hipster-style dialogue. But the way the camera shoots these flashbacks, it's almost... well, disgusting. We get unflattering shots, lingering shots that punctuate awful dialogue, and a blurry, unreal style that is immediately jarring and odd. What this is, is Amy's (fake) recollection of their dating days, but as viewed from Nick's perspective. It's all bullshit to him, but then again, he's all bullshit, too. It's clever, and not immediately obvious, but the longer the film goes on, the more of a feel you get that the camera is simply disgusted, or perhaps appalled, in much the same way Nick would be if he read through the diary entries. It's an interesting device, actually, because had they played the ridiculous dialogue straight, it would have not worked at all.

EDIT: In fact, I would actually argue that the flashbacks are the only part of the film (cinematographically) told form Nick's point of view.

If I had to classify Gone Girl (the film), I'd call it a satire. Marriage is painted in such polar ways, the police are (largely) inept, and the media are just a notch below Amy on the "Shark Scale". And the public love it, and we as the audience watch it (this hilariously broken marriage falling apart)... if you want to get meta.

I particularly liked how the (not-so-)dumb white trash hick saw through Amy's bullshit from the very beginning. On the one hand, we have this mastermind criminal who is about to pull off a framing of the decade, and on the other, this white trash girl who just robs the 'genius' out of pure impulse.

IMO Pike's performance was standout, and she far out-acted Affleck. When she's watching Affleck's interview with Desi (Neil Patrick Harris), she's just such a totally different person, completely involved and entranced, wondering how it's going to play out. Pike really sells it. She did a fantastic job. I don't usually like to comment on acting when discussing film (because it is irrelevant), but it was the most memorable role for me out of all the films I've seen this year.

The funniest thing about the film, though, is how no matter what anybody does in this film, everybody is still fucking miserable. Then you remember that the whole film (sans flashbacks) are told from Amy's point of view. Everything that happens to Nick is how she planned it to happen. Then Nick surprises her (an an interview we don't get to see until *she* sees it), and she says something like "You understand me." This is funny because she's speaking to the audience -- us. Because we were longing for this moment of victory for Affleck. Once the fourth wall is broken, it becomes comical. She kills Desi in a ridiculous manner, the police overlook it even to the point of not questioning how she got the murder weapon when she was tied up. She then comes home, and they both (Nick and Amy) continue engage in their sham marriage. Everybody is still miserable.

Amy denied us what we wanted. She understands us. It's an unhappy ending, and it's funny. Unhappily-ever-after.
Monk
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Post » Thu Oct 23, 2014 9:50 pm

Or perhaps another way to look at the film is this: We are presented with this pretty blonde woman -- the prototype Hollywood victim of male / masculine (or their analogs (see King Kong) abuse. But the tables are turned on us. The selfish husband is now afraid of his wife. The man who tried to control her with money and luxury was a victim of sexual violence. In the very final shot, we see Affleck's hand stroking his wife's head. She's 'below' us, around his crotch; a shot that leans toward the typical portrayal of a woman like her. Submissive; beneath the man's thumb; hovering right above his pee-pee as if on cue to please at his whim.

But then she looks up, and we see that... we're the ones in danger. She's the real threat.

The first and last shot: his wife lying on his crotch, but his face not visible, and she looks up into the camera (at US!). In the first shot, she's got soft eyes. She's vulnerable. In the last shot, she's got hard eyes; we're vulnerable, living in fear of an outburst.

It's pretty cool, IMO. Memorable film.
Monk
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Post » Thu Oct 23, 2014 11:06 pm

:yellow_laugh:

OK cool so you did like it overall.

Never quite sure sometimes with your posts.
KFC
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Post » Fri Oct 24, 2014 12:48 am

My takeaway was that the film was centred around a total piss take of America's 'news' media which was great to see.
danger
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Post » Fri Oct 24, 2014 1:08 pm

The sensationalist spin the media put on the story was definitely a big part of the cynical, dark humour of the film, and also served to buttress the constant class conflict / symbolism. Amy is so comfortable with her genius plan until she has her money taken by a 'poor' - the wheels fall off, then. She is visibly upset when a 'poor' comments that she is just an uptight rich bitch (and proceeds to prove her right by spitting in her drink). She's desperately counting her pennies at a truck stop in the rain, looking lower-class and frumpy, and then sleeps in her car, and is horrified to be caught by a guard doing so. We get a fake-out later of her counting her pennies in a casino, but no, she's not some 'hopeless poor' addicted to the slots! She runs back to Desi, a man who made his fortune off seedy casinos that exploit the poor -- in him, she finds some comfort. What about a woman's shelter, for example? No, because at this point she's no longer afraid of, or angry at men. She's afraid of being a 'poor'.

You could argue that Amy's turn-around came when she was confronted with being poor -- a traumatic class-shift. When she had no more money, she felt she lost control, and subsequently called the only person she felt a glimmer of comfort in: Desi, who tried to use his riches to exploit her (because he's a creep). She runs back to her marriage because she'd rather be protected from being poor, while still retaining agency, than protected from 'patriarchy', but under someone's (Desi's, who is smart enough to call her out on her tricks) thumb.

The twist ending is that rather than settling back into a system where the selfish male husband cheats on her, and acts generally like an uncaring dickhead, he's terrified of her. She's come back from the dead to haunt him.
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Post » Sun Nov 02, 2014 9:34 pm

Just watched this - nuts movie.
Deepjay
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Post » Thu Nov 06, 2014 11:23 pm

Watched this about 2 weeks ago, very good movie.

Nice write ups, i agree with basically everything above. This movie will be talked about for a long time.

One thing, If i was Aflecks character at the end i'd be pretty tempted to jump in front of a camera and tell everyone watching to suck my big fat cock for crucifying him with no evidence and than wanting to be his BFF in the end.
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