Such a cool exercise in both realism and tension. The projectionist who introduced the film applauds the scarcity of the film's use of Lalo Schifrin soundtrack, which only pops its head in occasionally and causes a stir when it does, but didn't extend that compliment to every other aspect of the movie. Yates more often than not chooses long silence and pauses over dialogue, and his script benefits so heavily from it. Nothing big or indulgent ever outshines the film's…
Seijun Suzuki's use of the film's extremely unique visual style is genius. It's an acid noir -- emphasizing bygone times with the slick, free-flowing nature of jazz in order to counteract and almost parody both the formulative and structural stereotypes of Japanese society and the Yakuza. Expressionistic lighting and production design, and an extremely unique, assured color palette turn this action movie insto such an exercise in style; it's all abstract, crazy enough to match the generally confounding plot. Contrast…
David Fincher loves his psychopaths.
Gone Girl , his newest film, features plenty.
The movie followers a couple: Amy Elliot and Nick Dunne, who are having some marital problems. On the morning of their five year anniversary, she disappears, leaving nothing but a suspiciously pristine home and a peculiar destroyed glass table. This disappearance spawns an entire media fiasco, one that turns Amy into a paragon of hope, while slowly turning Nick into a pariah; a suspect in his own…