'The Girl With The Dragon Tattoo' (2011)
Writers: Steven Zallian and Steig Larsson (based on the novel by)
Release Date: 26th December 2011
Hot Rating: 💥💥💥💥
Niels Oplevs's previous Danish-language adaptation of Stieg Larsson's nail-biting thriller satisfied audiences by both staying true to its source material, whilst also exploring thematic concerns of loyalty, data protection, and betrayal. Much like Fincher's follow-up, the film overcomes the task of bringing the novel's cutthroat protagonist, Lisbeth Salander, to life. This being said, Fincher's brooding characterisation of the unrelenting journalist (played by Rooney Mara) encompasses all the factors that make his adaptation the finer adaptation, as he creates a character who wins the allegiance of audiences with her brand of sado-justice. Her foil, Michel Blomkvist (Daniel Craig), echoes our twisting desires, as we are encouraged to search for the hidden, and uncover the evil that pervades the narrative. The emotional switchbacks of this murder-mystery benefit from its five-part structure, with the stupendous editing work of Angus Wall and Kirk Baxter making for efficient scenes which never feel absent of information.
'Gone Girl' (2014)
Writers: Gillian Flynn (screenplay and based on the novel by)
Release Date: 2nd October 2014
Hot Rating: 💥💥💥💥💥
In Gillian Flynn's screenplay debut, a fitting adaptation of her own bestselling thriller novel, audiences are treated to the divine spoils of a marriage gone wrong. The drama has a distinctively Fincher-esque aesthetic, with the meticulous camera work of Jeff Cronenworth ensuring that audiences are following every movement of the unsympathetic couple, Nick (Ben Affleck) and Amy (Rosamund Pike) Dunne. Beyond the visual characterisation, Flynn is quick to withhold her narrative's devious twists, vocalising the respective journeys of each character with independent mantras, as if we are watching a collection of biopic-style documentaries. In a word, the film is clinical in its portrayal of marriage, to which the unnerving performance of Rosamund Pike is the finest of her career. Such dominant storytelling is underpinned by topical notions of American capitalism and the corruption of the justice system, both of which work to produce a wholly rounded classic in the making.
Writers: Steven Zallian and Steig Larsson (based on the novel by)
Release Date: 26th December 2011
Hot Rating: 💥💥💥💥
Niels Oplevs's previous Danish-language adaptation of Stieg Larsson's nail-biting thriller satisfied audiences by both staying true to its source material, whilst also exploring thematic concerns of loyalty, data protection, and betrayal. Much like Fincher's follow-up, the film overcomes the task of bringing the novel's cutthroat protagonist, Lisbeth Salander, to life. This being said, Fincher's brooding characterisation of the unrelenting journalist (played by Rooney Mara) encompasses all the factors that make his adaptation the finer adaptation, as he creates a character who wins the allegiance of audiences with her brand of sado-justice. Her foil, Michel Blomkvist (Daniel Craig), echoes our twisting desires, as we are encouraged to search for the hidden, and uncover the evil that pervades the narrative. The emotional switchbacks of this murder-mystery benefit from its five-part structure, with the stupendous editing work of Angus Wall and Kirk Baxter making for efficient scenes which never feel absent of information.
'Gone Girl' (2014)
Writers: Gillian Flynn (screenplay and based on the novel by)
Release Date: 2nd October 2014
Hot Rating: 💥💥💥💥💥
In Gillian Flynn's screenplay debut, a fitting adaptation of her own bestselling thriller novel, audiences are treated to the divine spoils of a marriage gone wrong. The drama has a distinctively Fincher-esque aesthetic, with the meticulous camera work of Jeff Cronenworth ensuring that audiences are following every movement of the unsympathetic couple, Nick (Ben Affleck) and Amy (Rosamund Pike) Dunne. Beyond the visual characterisation, Flynn is quick to withhold her narrative's devious twists, vocalising the respective journeys of each character with independent mantras, as if we are watching a collection of biopic-style documentaries. In a word, the film is clinical in its portrayal of marriage, to which the unnerving performance of Rosamund Pike is the finest of her career. Such dominant storytelling is underpinned by topical notions of American capitalism and the corruption of the justice system, both of which work to produce a wholly rounded classic in the making.
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