2.5/4
It has been months since I saw this film, but I remember impressions. I chose to review it because I watched it within the timeline of this blog--hence, within my period of maturity in filmgoing; because I want to get as much down as possible in this blog; and because I enjoy writing and rating.
I was quickly disappointed with Gillian Flynn's script, adapted from her own novel, because of its fast-paced, unrealistically witty and annoyingly suave dialogue. Anyone who has talked with me about film knows that this accounts for much of my life's misery.
But as the story progressed, I became intrigued. Flynn did in fact craft an enticing narrative, and the suave dialogue passed quickly. It was replaced with intensity. But what really pushed this movie to its maximum for me was the dark and pounding direction of Mr. David Fincher. When the disturbing story was paired with Fincher's dark-urban colors and Trent Reznor's horrifying score, I'll admit that it got me. Even now as I review, it's getting me all over again. It fried my nerves, especially the violent scenes. I don't ever want to watch those or even think about them again. So I guess Fincher did his job, and this movie deserves a solid rating.
I just don't think that it reaches far enough. The direction kills, but the dialogue leaves much to be desired. Also, the acting: I have a distaste for Ben Affleck. I have never liked his acting in a film, and I don't think that he fits the character at all here. Rosamund Pike, however, is frightening and beautiful. She gives the film much more power, where the other actors should have.
I recall being interested in Tyler Perry's part in the story, in the complexities of media and public image. It's all a worthless game, I know, but it was interesting to see him take it seriously and to see how an educated man would approach the idea of upholding an image.
I cannot give this film a 3/4 rating because of its weaknesses, but I do recognize its strengths. And it is extremely strong, in its unique ways.
