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Gone, Baby Girl, Gone


Gone Girl


By Kai Sacco | October 8, 2014

D avid Fincher’s filmic lands have been covered in his signature industrial grime since the director’s problematic yet intriguing 1992 debut, Alien³. Of what most consider his true first film, Se7en, critic Roger Ebert said of its world, “It rains almost all the time.” Ebert probably didn’t know that he was also giving description to Fincher’s future works, such as Fight Club and Zodiac. But none feel more foreign than Gone Girl; not even the darkman’s English-language remake of The Girl with the Dragon Tattoo, which possessed a lived-in quality despite the Swedish backdrop in the dead of winter. We were allowed to rub shoulders with Mikael Blomkvist and Lisbeth Salander because of their honesty. Fincher’s a misanthrope; his camera expresses a kind of contempt for the lead players in Gone Girl yet it can’t look away. It’s fascinated with them. It observes them at a safe distance. And it should.

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