GONE GIRL

By Marc S. Sanders

David Fincher is best when he builds tension in dark cinematography. It’s eerie and moody, but it all seems to make appropriate sense.

A skilled director like him proves that even with Lifetime television soap opera material, if delivered with care for detail and with genuine acting he can hold on to the attention of a scrupulous movie going audience. Haunting filmmaking, like Fincher is known for with movies like Seven or Panic Room, can also work in sensational material that at first might draw the attention of lonely housewives pigging out on Rocky Road ice cream while watching hours upon hours of scorned victim gossip material on the WE Channel. Gone Girl adapted from the best-selling novel by Gillian Flynn, who also wrote the screenplay, is a thrilling cinematic piece even if the story’s ending is a little disappointing.

Ben Affleck plays Nick Lowe who discovers a broken glass coffee table in his home and realizes his wife of 5 years is missing. Rosumund Pike is Amy, who seemingly vanished without a trace.

Fincher closely shoots Flynn’s story with developments you might expect or have experienced with various news stories and documented investigations by sensational legal journalists like Nancy Grace. Nick, with Amy’s parents (Lisa Banes, David Clennon), initially form a united front for the press but that falls apart when it’s uncovered that Nick has had an affair. Amy had a close neighbor who expresses tearful concern that cameras latch on to for ratings. The cops (Kim Dickens, Patrick Fugit) grow more and more suspicious of Nick. Nick eventually hires a high-priced lawyer (Tyler Perry). Nick is eventually considered to be an abusive husband as well. It all adds up.

These are the steps you’d expect from a missing persons case. You might also suspect murder, but no one can claim that out loud if there’s no body to be found. So, toe the line carefully detectives, journalists, & gossip mongers!

What is not expected in Gone Girl are the surprises that open up midway through the picture, and the book. Flynn is a really inventive storyteller, and Fincher as director gives ample opportunity to answer for every surprise up the writer’s sleeve. Gone Girl plays with a lot of internal character thought to process its details.

I had read the novel long before the movie was even cast, and I couldn’t put it down. That being said, I was frustrated when the conclusion arrived. I can say the same for the faithful film adaptation. It’s an ending that could happen but, wow, is it a long shot.

Rosamund Pike was Oscar nominated as Amy, the complicated wife in this marriage. She’s good at occupying the complexity of her past shown in flashback. She’s likable in many moments, but then Amy is also a character that we are reluctant to trust based on her relationship to Nick, as well as her own parents.

Affleck remains a good actor with this picture. I think it takes an honest actor, writer and director to accurately show a man who might not be responding to this crisis like a general public expects. I think much of Affleck’s personal issues of infidelity and alcoholism in the public eye lend credence to how genuine he makes Nick out to be. Could this guy be handsome enough to think he could harm or actually murder a woman as beautiful as Amy; the “Amazing Amy” as she’s widely known in her mother’s series of best-selling children’s books? Is Nick that good at hiding his evil side? On the other hand, is Nick simply innocent, despite all the skeletons that are gradually uncovered? That’s a fair question as well.

Again, Gone Girl is superb in its delivery. It’s ending, though, is the setback. At least I felt that way. For every reader, like me who considers it dubious, I’m sure there are readers who applaud the inventiveness of Gillian Flynn’s gripping and modern mystery.

I guess if a good story prompts a group discussion on a Saturday night, then a really good novel or a great movie has achieved its purpose. At the very least, I consider that a great compliment for an outstanding cast, director and writer.

THE UNBEARABLE WEIGHT OF MASSIVE TALENT

By Marc S. Sanders

I’m looking forward to seeing a film that pokes fun at the life and career of actor Nicolas Cage.  After seeing his new film, The Unbearable Weight Of Massive Talent, I’m still waiting.

The title is the best thing about this film.  In fact, it might be the best title of any film to come out this year. 

Cage portrays an account of himself, Nicolas Cage.  His career in Hollywood seems to always be scraping the bottom of the barrel and he comes up desperate for the next film that will financially sustain him.  Look actors gotta work too!  He’s so anxious for a part that he’ll recite a monologue with a dreadful Boston accent to a Hollywood producer as he’s waiting for the valet.  Alas, no roles are coming his way and he’s over $600,000 in debt.  Best that his agent (Neil Patrick Harris) can do is get him a million-dollar paycheck to spend a weekend at a supposed super fan’s island chateau.  Javi Gutierrez (Pedro Pascal) is that fan. 

As Nicolas’ stay commences, somehow, he finds himself caught up in a real-life action-packed story.  The CIA inadvertently recruits him to stay on top of Javi as they suspect he’s kidnapped the daughter of a foreign country’s President.  Yet, Javi doesn’t seem to give off any clues.  He’s only enthusiastically concerned with entertaining his celebrity guest and selling the adventure screenplay he’s written with Cage in mind.

I gave up on this film after the first fifteen minutes.  If I laughed three times during the course of the picture it was a lot.  The oversight that I think occurred here is that it never felt like a spoof of the actor Nicolas Cage.  Cage has a lot of suspect material in his past.  He’s a die-hard Superman fan.  After all, he named his son Kal-el.  Who does that?  As well, he’s infamously known to have recorded himself in a terrible looking Superman suit for Batman director Tim Burton to consider for a film revival with Cage in the superhero role.  Cage has also been married multiple times, including to Elvis Presley’s daughter at one point.  I believe his most recent marriage lasted all of three days.  He has his odd collection of film roles, and he’s a member of the famous Hollywood family, the Coppolas (as in Francis Ford and Sofia).  Yet, none of this material that comes to me off the top of my head makes its way into The Unbearable Weight Of Massive Talent.  The title seems to scream Nicolas Cage and yet this film is hardly about Nicolas Cage.

Instead, this film directed by Tom Gormican, who also co-wrote it, opts to actually turn the second half of the film into an actual shoot ‘em up adventure with clumsy comedy scraps.  Cage and Pascal scream amidst the bullets and car chases, but none of it is funny.  It certainly doesn’t reach the heights of Lethal Weapon fanfare.

I think back to a film called This Is The End which features the Judd Apatow fraternity of actors (James Franco, Seth Rogen, Jonah Hill and Jay Baruchel).  Earth is coming to an end and the celebrities play themselves.  The inside jokes were abundant with nods to their film careers, their penance for smoking weed and various gossip stories.  If Nicolas Cage is truly playing himself and this new film is selling itself on that message, then show me Nicolas Cage.  If you are just going to show an unfunny Pedro Pascal and clumsy gun fire galore, then you can easily swap out the celebrity at the center of it all and replace him with any other well-known actor.  Don Knotts could have been inserted here, or Charles Nelson Reilly.  Kim Kardashian could have had opportunity with this script.

Sure, there are some salutes to Cage’s film credits.  Javi’s secret man cave of all things Nicolas Cage is a little fun for the short while we are there.  Yet, what’s so relatable with a forgettable film like Guarding Tess?  It’s actually a good movie with Shirley MacLaine in the title role.  How many people actually saw it though, much less remember it?  Face/Off gets a nod but nothing great beyond the gold-plated prop guns he used.  Gone In Sixty Seconds is mentioned in one sentence of dialogue.  Con Air hearkens back to the bunny in the box for a beat.

Other than one well known celebrity cameo for a blink and you miss close up, the Hollywood populace doesn’t even turn up to roast the film’s star.  Imagine if Francis Ford Coppola made an appearance.  “Nic, stop embarrassing the family.”  Consider Sean Penn having a beer with Nicolas to reminisce about Fast Times At Ridgemont High (Nicolas’ first film appearance as a stoner dude, when his surname was Coppola).  There’s not even a mention about his Oscar winning turn in Leaving Las Vegas.

I am happy to admit that Nicolas Cage has a very storied career and life behind him, and yet hardly anything is touched upon in this film.  Instead, we are distracted with a kidnapped young woman that I don’t recall has even one line of dialogue in the picture.  If she did, it happened when I dozed off.

One avenue seems so obvious for a film intending to spoof this actor.  Walk with me for a second.  Nicolas Cage did the film Con Air with actor John Malkovich.  There’s already a much better film called Being John Malkovich that had a little fun at the expense of that real life actor.  It was written by Charlie Kaufman and directed by Spike Jonze.  Know what else Kaufman & Jonze wrote and directed?  A film called Adaptation with Nicolas Cage.  See where I’m going here?  This stuff writes itself.  I’d love to have watched a scene where Malkovich walks in and says “I know what you’re going through Nic.  I really do. Charlie and Spike never let up.”  There’s much to play with here. 

Yet instead, we are belabored with the unbearable weight of this unfunny film.