With his wife’s disappearance having become the focus of an intense media circus, a man sees the spotlight turned on him when it’s suspected that he may not be innocent.
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Credits: TheMovieDb.
Film Cast:
- Nick Dunne: Ben Affleck
- Amy Elliott Dunne: Rosamund Pike
- Desi Collins: Neil Patrick Harris
- Tanner Bolt: Tyler Perry
- Margo Dunne: Carrie Coon
- Detective Rhonda Boney: Kim Dickens
- Detective Jim Gilpin: Patrick Fugit
- Rand Elliott: David Clennon
- Marybeth Elliott: Lisa Banes
- Jeff: Boyd Holbrook
- Greta: Lola Kirke
- Noelle Hawthorne: Casey Wilson
- Ellen Abbott: Missi Pyle
- Andie Fitzgerald: Emily Ratajkowski
- Tommy O’Hara: Scoot McNairy
- Sharon Schieber: Sela Ward
- Police Officer: Lee Norris
- Donnelly: Jamie McShane
- Bill Dunne: Leonard Kelly-Young
- Shawna Kelly: Kathleen Rose Perkins
- Walter: Pete Housman
- Kelly Capitono: Lynn Adrianna
- Maureen Dunne: Cyd Strittmatter
- Jason: Ricky Wood
- Lauren Nevens: Donna Rusch
- FBI: Mark Atteberry
- Mustached Man: Darin Cooper
- Above-It-All Journalist: Kate Campbell
- Nervous Intern: Brett Leigh
- Security Guard: Antonio St. James
- Fashionista: Lauren Glazier
- Female Officer: Julia Prud’homme
- Doctor: Cooper Thornton
- Earnest Girl: Casey Ruggieri
- Friend 1: Ashley Didion
- Friend 2: Lexis Nutt
- Guard: L.A. Williams
- Tweaker Teen 1: Blake Sheldon
- Tweaker Teen 2: Sean Guse
- Airport Traveler: Fred Cross
- Producer: Scott Takeda
- Reporter: Mark T Anderson
- Reporter One: Kathy Sweeney-Meadows
- Casino Patron (uncredited): Marc Abbink
- Airport Passenger (uncredited): Christina Alex
- Casino Customer (uncredited): Samuel Baca
- Press Reporter (uncredited): Bill Blair
- Limo Driver (uncredited): Thomas R. Baker
- Needs a Fix (uncredited): Gregoer Boru
- Black Jack Dealer (uncredited): Will C.
- Waitress (uncredited): Caroline Clements
- Flight Attendant (uncredited): Nancy DeMars
- Reporter (uncredited): Davina Joy
- CSI Photographer (uncredited): Michael James Kelly
- High Roll Dealer (uncredited): Elester Latham
- Sharon’s Assistant (uncredited): Aaron Massey
- Coffee Cop (uncredited): Orion McCabe
- Hostess (uncredited): Roz McHenry
- Truck Stop Cook (uncredited): Bryan McKinley
- Dealer (uncredited): Teebone Mitchell
- Amish Musician (uncredited): Justin Nesbitt
- Bartender (uncredited): Mark Parrish
- Pedestrian (uncredited): Jaclyn Rose
- Gate Agent (uncredited): Sahlima
- Bike Messenger (uncredited): Joel Shock
- Williamsburg Musician (uncredited): Robert Tarpinian
- Police Station Woman (uncredited): Tracy Weisert
- Makeup (uncredited): Michelle Winters
- Press Reporter (uncredited): Tracy Brotherton
- Kissing Girl (uncredited): Matilde Matteucci
- Librarian (uncredited): Dale Shane
- Police Administrator (uncredited): Leslie A. Hughes
- Zoey: Jamie Eddy
- Gang Member Tweaker (uncredited): Joey Courteau
Film Crew:
- Producer: Arnon Milchan
- Producer: Reese Witherspoon
- Original Music Composer: Trent Reznor
- Director: David Fincher
- Producer: Ceán Chaffin
- Director of Photography: Jeff Cronenweth
- Casting: Laray Mayfield
- Sound Re-Recording Mixer: Ren Klyce
- Set Decoration: Douglas A. Mowat
- ADR Mixer: Doc Kane
- Executive Producer: Leslie Dixon
- Dialogue Editor: Daniel Laurie
- Supervising Art Director: Sue Chan
- Production Design: Donald Graham Burt
- Hairstylist: Sheryl Blum
- Executive Producer: Bruna Papandrea
- Art Direction: Dawn Swiderski
- Makeup Effects: Gary J. Tunnicliffe
- Hairstylist: Stacey Morris
- Producer: Joshua Donen
- Unit Production Manager: David Witz
- Makeup Artist: Wanda Patterson
- Dialect Coach: Carla Meyer
- Location Manager: Richard Schuler
- Original Music Composer: Atticus Ross
- Makeup Department Head: Kate Biscoe
- Editor: Kirk Baxter
- Costume Design: Trish Summerville
- Makeup Artist: Aurora Bergere
- Foley: John Roesch
- Stunt Coordinator: Mickey Giacomazzi
- Still Photographer: Merrick Morton
- Novel: Gillian Flynn
- Costume Supervisor: Cheryl Beasley Blackwell
- Visual Effects Supervisor: Charlie Iturriaga
- Visual Effects Producer: Robin L. D’Arcy
- Set Designer: Tim Croshaw
- Assistant Art Director: Mark Robert Taylor
- Visual Effects Producer: Brice Liesveld
- Visual Effects Supervisor: James Pastorius
- ADR Editor: Gwendolyn Yates Whittle
- Set Designer: Barbara Mesney
- Sound Re-Recording Mixer: Michael Semanick
- VFX Supervisor: Max Leonard
- Costumer: Jay Cheng
- Script Supervisor: Sharron Reynolds-Enriquez
- Digital Intermediate: Matt Blackshear
- Foley: Alyson Dee Moore
- Construction Coordinator: Robert J. Carlyle
- Sound Effects Editor: David C. Hughes
- Set Costumer: Paul Corricelli
- Camera Operator: Peter Rosenfeld
- Greensman: Alex Sessing
- Hairstylist: Kim Santantonio
- Digital Intermediate: Emily Eddey
- Sound Re-Recording Mixer: David Parker
- Set Designer: Jane Wuu
- ADR Recordist: Ryan Young
- Property Master: Kirk Corwin
- Makeup Artist: Deborah Rutherford
- Sound Effects Editor: Malcolm Fife
- Visual Effects Supervisor: Eric Barba
- Animation Supervisor: Steve Preeg
- Key Costumer: Carrie Arakaki
- Hairstylist: Jose Zamora
- Set Costumer: Anita Louise Brown
- Set Costumer: Tom Macdonald
- Set Costumer: Lauren Winchester
- Art Department Coordinator: Michael LaCorte
- Art Department Coordinator: Molly Reinhardt
- Assistant Art Director: Cara Brower
- Sound Effects Editor: Al Nelson
- Special Effects Coordinator: Ron Bolanowski
- CG Supervisor: Carlos Anaya
- Visual Effects Producer: Gabriela Hickman
- Visual Effects Supervisor: Marco Maldonado
- Music Editor: Jonathon Stevens
- Transportation Coordinator: Robert E. Dingle
- Location Manager: John Cefalu
- Foley Mixer: Mary Jo Lang
- Special Effects: Dean Hathaway
- Rigging Gaffer: Scott Graves
- Foley: Thom Brennan
- Chief Lighting Technician: Erik Messerschmidt
- Casting: Patty Connolly
- Production Coordinator: Lori Berlanga
- Production Sound Mixer: Steve Cantamessa
- First Assistant Accountant: Kirsten Anderson
- Boom Operator: Scott La Rue
- Assistant Director: Courtenay Miles
- Stunts: Jessica Harbeck
- Assistant Editor: Tyler Nelson
- Associate Producer: Jim Davidson
- Steadicam Operator: Bob Gilles
- Assistant Production Coordinator: Michael Coscia
- Key Grip: James Sweet
- Key Rigging Grip: Chris Leidholdt
- ADR Mixer: Thomas J. O’Connell
- Payroll Accountant: Maureen O’Reilly
- Best Boy Electric: Andrew Korner
- Rigging Grip: Brad Leidholdt
Movie Reviews:
- Andres Gomez: Good cast and decent story, although the end is not very convincing.
The cut of the movie is really good and Rosamund Pike is genuinely scary.
Not a master piece but quite good given the lack of passable movies lately.
- VanVliet: Rosamund Pike is outstanding as the wronged wife and Ben Affleck is very good as the husband. It is convoluted, and you do start to think is this just going over the top, but the end just shows Pike’s character to be a damaged high-functioning psychopath. So at the final sequence, even if it’s a tad far fetched even if you feel that Affleck deserves everything coming to him, the look she gives to the camera is that of an pure evil. As my youngest daughter used to say when she was a kid, she’s got scary eyes.
- Matthew Brady: “This man might honestly kill me”.
The story is about Nick Dunne, as he finds out his wife has gone missing. As increasing police and media pressure mount, the facade of a loving and blissful union crumbles and amidst the lies and behavior of Nick, the question remains – did he kill her?
David Fincher is a true master class when it comes to directing, because Gone girl is one of the best films of this year.
Ben Affleck was perfect for this role, because Ben Affleck through out he’s career had a lot of hate from the media and the critics that mostly slammed him in every role that he was in. And that’s why he was outstanding in this movie.
Rosamund Pike acting in this film was pure brilliant and spectacular. She was so good in this role she might get a Oscar nomination for this. Tyler Perry in this movie was actually pretty damn good, and am so surprise saying that because Mr. Perry was in such awful films like: MADEA trilogy, Alex cross and the list goes on. But in this movie he did good.
What this movie does so brilliantly well is how we view media today, because most of the stories you hear on the news might not be true and how the media can spread lies about people and ruining their lives. Everybody always believes what the media says even if it’s true or not, because we don’t know what that person on the news is going through, and this movie got that message out they so perfectly.
My only problem with this movie is Neil Patrick Harris character. Now let me just say that Neil Patrick Harris wasn’t terrible in the movie, but his character to me slowed the film down.
Overall Gone Girl is a fantastic film.
- MSB: If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.comThis is it. The last David Fincher’s film I’ll be able to review before Mank, his next masterpiece… I hope. I’ve been through Se7en, Fight Club, Zodiac, The Social Network, and now it’s time for Fincher’s latest installment, Gone Girl. Clearly, Fincher loves to work with people he knows. Jeff Cronenweth has been his director of photography in half of his movies, same for Kirk Baxter as part of the editing team, and Trent Reznor and Atticus Ross in the musical score. Even his production designer, Donald Graham Burt, has been around since Zodiac. However, Fincher always works with a different writer, and this time, he partners up with a debutant screenwriter, Gillian Flynn, author of the original novel that originates this adaptation.
Usually, when it comes to writers, I take this change of media with a grain of salt since writing a book isn’t exactly the same as writing a screenplay (it’s completely different, I was being generous). With that said, Flynn absolutely destroys my self-doubts, delivering one of the best scripts of 2014. From the exceptionally captivating, perplexing disappearance of Amy to the underlying theme about how press and media treat this type of news, Flynn’s screenplay is impressively able to develop each and every narrative in the most perfect way possible. With a remarkable use of time/date stamps, the viewer follows in a detailed manner the events that build up to the tragic day through different perspectives, mainly Amy’s and Nick’s.
This story’s greatest accomplishment is how it makes the press influence what the viewer thinks about the characters, just like in real life. Nowadays, people don’t even click to read the full article and understand its context. A single headline, as far from the truth as it might be, is enough to start a worldwide online debate. The same goes for television networks, and their news shows: if it’s on the national news program, then it must be true, people think. I may be wrong when I wrote the whole “change of media” matter before, but of this, I’m sure: take every news article you read with a grain of salt because most of the time, the full, true story isn’t entirely revealed.
This takes me to Ben Affleck (Justice League, The Way Back) and what I consider one of the best casting choices of the respective decade. In case you don’t know, Affleck has been pursued throughout his whole life by journalists who try their hardest to expose his personal life, no matter how disrespectful it may turn out to be. Nick goes through the exact same obstacle. There’s non-stop news about Amy, and it only becomes a matter of time until Nick starts being accused of being a terrible husband, and ultimately the obvious killer, even though the press can’t find a single proof. Affleck doesn’t even need to incorporate a new character since he has the necessary life experience to offer an utterly brilliant performance. Definitely, one of my favorite actors working today.
Since I’m in the realm of performances, I might as well continue with Rosamund Pike (Radioactive). Her interpretation of Amy is almost the opposite of Affleck’s, in the sense that the latter gives a seemingly simple yet powerful display, while Pike has a much more complex, layered role. She can be menacing and scary but also loving and kind. The puzzle surrounding her disappearance is mostly based on a perspective enigma, as the viewer is told the same story through different lenses throughout the first half of the film. Honestly, this is probably a career-best performance for Pike, who portrays a character of extremes, allowing her to demonstrate her jaw-dropping emotional range.
Carrie Coon (Margo Dunne) is another actress I’ve grown to deeply enjoy watching, and she’s terrific as Nick’s sister. Her chemistry with Affleck is spot-on, and I sincerely hope that one day she becomes one of the most coveted actresses in Hollywood. Tyler Perry (Tanner Bolt) is also pretty great as Nick’s lawyer, but Kim Dickens is even greater as Detective Rhonda Boney, who partially plays the same role as the viewer by trusting that what she sees and hears is undoubtedly the ultimate truth. Flynn’s screenplay is packed with twists and turns, some of them more surprising than others, but the third act saves an unexpected, shocking turn of events, leading to a powerful ending that will leave most audiences speechless, myself included.
Two minor issues. One of them, you probably have already figured it out since I left Neil Patrick Harris (Desi Collings) out of the cast compliments above. Harris is fine as the character he portrays, but I can’t help but feel that he wasn’t the right actor for the role. This is a classic Fincher movie: dark, somber, depressing, tragic, and with its own share of violence and blood. In fact, it possesses one of the most disgusting, disturbing uses of blood in a single scene I’ve ever seen. Harris is an excellent actor, but he stands out from the rest of the cast, and not in a positive way. Again, fine performance, just not the right role for him. The other problem is admittedly an irrelevant nitpick regarding a few details story-wise that stretch the believability of everything just a bit.
Nevertheless, this is still a phenomenal film, and it’s another evidence of David Fincher’s masterful visual filmmaking. Once again, Fincher works with his known crew members to create a sumptuous look and feel. With seamless editing, a memorable score, and fantastic camera work, Gone Girl is technically magnificent, but it’s Gillian Flynn’s debut screenplay that steals the spotlight. Boasting jaw-dropping twists, including an utterly shocking third act and respective ending, Flynn’s narrative is incredibly engaging due to its remarkable structure and puzzling mystery, never losing an inch of excitement or interest. Ben Affleck is one of the best casting choices of the decade by interpreting a man whose life is deeply affected by the press and media, which should never be fully trusted (a clear and powerful message to the audience), while Rosamund Pike delivers her career-best performance with an emotionally devastating display. Despite the misstep of casting Neil Patrick Harris in such a dark movie and a couple of nitpicks regarding the investigation, everything and everyone else turn this into one of the best films of the 2010s.
Rating: A