Gone Girl ★★★★½

Looking at his back catalogue, I’ve seen seven of Fincher’s 10 feature films, with just The Game, Zodiac and The Social Network left to watch. Of the ones I have seen – Alien 3, Se7en, Fight Club, Panic Room, The Curious Case of Benjamin Button, The Girl with the Dragon Tattoo and Gone Girl – I can firmly say that he excels in thrillers, with Benjamin Button being an odd choice.

Gone Girl is much in the same vein as Dragon Tattoo, with another fantastic score from NIN’s Trent Reznor and Atticus Ross playing against a clever script, dark lighting and strong lead performances. Perhaps it could also be said that Fincher is excelling in book-to-film adaptations too, though I haven’t read either of the above, or F. Scott Fitzgerald’s ‘The Curious Case of Benjamin Button’, so can’t comment.

When I went to see Gone Girl, with three male friends, I was left a little shell-shocked when the credits started rolling; I was feeling a little uncomfortable and on edge, agreeing with my friends that when love, lust and power are involved, people can be downright scary.

The choice of leads was inspired. Over recent years Affleck has been enjoying a McConaughey-style renaissance, choosing dramas and thrillers over big budget actions. With his clean cut, all-American appearance, he was the perfect fit for Nick Dunne while Rosamund Pike, who previously had minimal leading lady experience, was superb as Nick’s wife, Amy. Indeed, I haven’t been able to look at her in quite the same way since.

When watching films I love to be ‘on the edge of my seat’, particularly when it comes to thrillers. I have been known to start shouting at characters, urging them to do this or that. When it came to Gone Girl, I was so close to the edge that I was in danger of being on the floor.