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Gone Girl (2014)

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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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Top Rated Movies #181 | Nominated for 1 Oscar. Another 64 wins & 176 nominations. See more awards »

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Storyline

On the occasion of his fifth wedding anniversary, Nick Dunne reports that his wife, Amy, has gone missing. Under pressure from the police and a growing media frenzy, Nick's portrait of a blissful union begins to crumble. Soon his lies, deceits and strange behavior have everyone asking the same dark question: Did Nick Dunne kill his wife? Written by Twentieth Century Fox

Plot Summary | Plot Synopsis

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Was Nick Dunne lying? See more »


Motion Picture Rating (MPAA)

Rated R for a scene of bloody violence, some strong sexual content/nudity, and language | See all certifications »

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Details

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Release Date:

3 October 2014 (USA)  »

Also Known As:

Perdida  »

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Box Office

Budget:

$61,000,000 (estimated)

Opening Weekend:

$37,513,109 (USA) (3 October 2014)

Gross:

$167,735,396 (USA) (6 February 2015)
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Company Credits

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Technical Specs

Runtime:

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

When Nick and Amy have sex in the library, they talk about Jane Austen's book "Pride & Prejudice". Rosamund Pike, who plays Amy, was one of the leads in Pride & Prejudice (2005), playing the part of Jane Bennet. See more »

Goofs

Desi Collings has never been interrogated by the police, the police had access to the letters Amy received from Desi and so with the knowledge about his stalking. See more »

Quotes

[first lines]
Nick Dunne: When I think of my wife, I always think of the back of her head. I picture cracking her lovely skull, unspooling her brain, trying to get answers. The primal questions of a marriage: What are you thinking? How are you feeling? What have we done to each other? What will we do?
See more »

Crazy Credits

The principal names individually fade in and out onscreen in just 2 seconds each, half the normal time for a screen credit. See more »

Connections

References Steel Magnolias (1989) See more »

Soundtracks

WALL OF GOD
Written by Eddie Lundon, Gary Daly and Gazza Johnson (as Gary Johnson)
Performed by China Crisis
Courtesy of Virgin Records Ltd.
Under license from Universal Music Enterprises
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User Reviews

 
The Horrors of Domesticity
24 September 2014 | by See all my reviews

The basic premise is as old as the movies.

An abduction leads to a media-circus.

Nick Dunne (Ben Affleck) comes home one day to find his wife Amy (Rosamund Pike) missing. The ensuing search and all the subsequent events, which shall not be revealed here, draw the viewer closer and closer into a complex world of everyday suburban reality and everyday suburban horror.

As if it needed to be pointed out, this balance of reality and horror, or horrendous reality, is the domain of Mr. Fincher. In his clear-cut no-nonsense style he has fashioned a powerful mystery-thriller that lands somewhere between Hitchcock, Lynch, Bergman and Chabrol. Although vastly different directors, they have shared an interest in dissecting reality and human nature.

Profiting from two exceptional lead actors (doubts about Mr. Affleck's acting abilities will hopefully be dispelled), it is Ms. Pike, who reveals herself as an immensely versatile and unpredictable force in this movie. Over more than ten years Ms. Pike has played big parts in small movies, or small parts in big movies (such as „Pride & Prejudice", „Wrath of the Titans" or „Jack Reacher"). Under the guise of Mr. Fincher she excels in every aspect and if any contenders for awards are to be named so early in the season, hers would be one of the first names (next to the outstanding cast of Richard Linklaters „Boyhood") to be written down.

Visually stunning as one would expect from Fincher, with an immersive soundtrack by Trent Reznor & Atticus Ross and an editing rhythm that cuts like a knife through the tissue of the story and its characters, „Gone Girl" leaves no doubt about its craft and the deceptive nature of its source novel by Gillian Flynn. The author adapted her book into a tightly wound screenplay, that adds fuel to an already burning analysis of modern marriage and human frailty.

The themes are familiar to Fincher, but he assembles them in an expertly fashion. And we are left wondering, amidst the suspense, about many of the so called estimable American values of the 20th century, that have now come crashing down under the weight of an economic, political and spiritual crisis.


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