Gone Girl

If you were to simply describe the plot of Gillian Flynn’s pulpy bestseller it would come off as an outrageous Joe Eszterhas-style potboiler ripped from the era of early 90’s sexual thrillers. But when orchestrated by a master of the genre, at the top of his game, where other filmmakers would have made this picture into a sloppy ham-fisted mess, David Fincher makes two and half hours a completely engrossing experience, terrifying and witty in equal measure and self-aware enough not to take itself too seriously.

The Game

Looking back on David Fincher's two early films 'Seven' and 'The Game', which were made two years after one another, they have more than proximity of time in common. Both clever genre films seem to be like two sides of the same coin, both overachieving in execution, transforming what could have been generic indistinguishable and unmemorable thrillers into enthralling psychological examinations of our human character.

The Game (1997) dir. David Fincher
Starring: Michael Douglas, Sean Penn, Deborah Kara Unger, James Rebhorn, Peter Donat

By Alan Bacchus

Games are at play in both Seven and The Game. In Seven, the reigns are held by a psychopathic serial killer testing the will and unwilling victim played by Brad Pitt. John Doe (Kevin Spacey), upset with the world, forces the perfect-specimen of society to see the evils of the world in the most horrific way possible. In The Game, Nicholas Van Orten is somewhat complicit in his game, but he enters into his harrowing journey under false pretenses. For Van Orten, the problems with his life are visualized elegantly in a beautifully morose opening sequence, shot in earthy and haunting 8mm film, fake home movies which show the wealthy but depressed life of Nicholas’s father. The sequence ends with his father jumping off his balcony to his death,

As a result, Van Orten’s lifestyle is typically cold. His relationship with his co-workers and ex-wife are unemotive two-word sentences at most. And as a ruthless capitalist, he's introduced firing one of his father’s older colleagues (Armin Muehler-Stahl) in order to save some falling stock, but perhaps subconsciously to finally exert his authority of the ghost of his father. If anything, Van Orten is an on-the-nose caricature of Douglas’s Gordon Gekko, the '80s shark, perhaps updated for the '90s – devoid of the enjoyment of the corporate game, now simply numb to everything around him.

Enter Nicholas’s brother (Sean Penn), who gives him a CRS (Consumer Recreation Services) gift card as a birthday present. He’s not interested in any games, but through some cleverly placed covert clues Nicholas is subliminally persuaded to participate.

Fincher takes his time with the mechanics of the game. The initial adventures Van Orten finds himself in are overly telegraphed, feats of physical strength, a chase here and there, or, as Nicholas himself puts it, ‘elaborately staged pranks’. All of this is either an illusion to mask the true and devious goals of CRS to scam Van Orten out of his money, or to gradually put the man into a hallucinogenic daze in order to push him through the other side of consciousness. At all times throughout, in the back of our minds, we know that it's possible that it's all fake, all part of the game. And so the genius of this film is Fincher’s ability, through shear awe-inspiring cinematic skill, to put us in the mind of Van Orten and have us think from his point of view every step of the way.

This was my experience upon first viewing, as malleable as the puppet Van Orten finds on his driveway, pulled and push at will by Fincher into every dark corner he wants us to go. Thus making every twist a surprise or a shock, and in the case of the impressive climax, a complete revelation.

Seven had the same effect, but while that film bludgeoned its audience with a cold hard dose of cynical reality in the climax, The Game subverts these expectations by taking another direction, transforming its main character into a new person, Van Orten free of the lifelong shackles of his father and able to make his life thereafter his own.

***½

The Game is available on Blu-ray from The Criterion Collection.

The Girl With the Dragon Tattoo

The Girl with the Dragon Tattoo (2011) dir. David Fincher
Starring: Daniel Craig, Rooney Mara, Stellan Skarsgaard, Christopher Plummer, Robin Wright

***½

By Alan Bacchus

I don't think we should consider this picture a remake of the original, but considering the close proximity of the Niels Arden Oplev version, let's call the Swedish version a trial run of sorts for this film adaptation. The fact is the first film was pretty good, a decent adaptation the novel visualized with a David Fincher-like style – a grisly crime procedural told with a slow-burning, cold tone and precise visual compositions. Well, now we have the real thing, the real David Fincher at the helm of the 'American version', a film not all that dissimilar from Oplev's but with the full and authentic Fincher experience.

Fans of the book (or the first movie) that feared the Americans would 'Hollywoodize' these universally loved 'Swedish' stories can relax. Fincher has dutifully honoured Stieg Larsson and his Swedish heritage by making this as Swedish as possible. Not only is the film set in Sweden, it was shot there and co-produced by Yellow Bird, the producers of the Swedish films. Other than the lead players, Fincher populates most of the supporting roles with real Swedes. Hell, even Robin Wright does a decent Swedish accent!

The story is the same with few changes from the original (note: I have not read the book). Daniel Craig plays Mikael Blomkvist, a journalist for Millennium magazine who has recently been indicted for libel for a scathing article on a high profile financial tycoon. At this lowest moment of his life, he gets a call from Henrik Vanger, an even more powerful corporate tycoon who offers Mikael a job – to investigate the murder of his beloved niece, Harriet, who, after disappearing in 1965, has been tormented by her killer with flowers each year on his birthday.

Holed up in an icy cold estate up north, Mikael systematically goes through all the old evidence, but the most intriguing aspect of the case is the tempestuous Vanger family, one of whom must be the killer. Vanger's siblings, nieces and nephews are portrayed as a motley crew of spoiled aristocrats sequestered from regular working class life. Mikael's investigation hits its stride when he employs a goth super hacker and the person after whom the film is named – the tattooed girl, Lisbeth Salander. Though suffering from psychological damage from a life abused by men, she's created a stone cold kickass feminist attitude that allows her to get what she wants. By the end, the secrets of the case are revealed in traditional pot boiler plotting, including a dramatic confession by the killer at the end. But it's the tease of Salander's back story and Mikael's connection to the Vangers and his professional issues with the magazine that enrich the experience.

Noomi Rapace was a brilliant Lisbeth Salander, and Rooney Mara does a fine job keeping up with her. Her expressionless composure and physical attributes (piercings, tats, goth attire) create an imposing first impression, but Rooney adequately shows us the deep-rooted pain and fear from her years of emotional torture. Fincher plays out her character as I imagine Larsson had intended, as a superhero of sorts, not someone to replicate some kind of realist character portrait, but someone to root for and stimulate us like an aggressive martyr fueled by revenge. The back story of Salander, as mentioned, is perfectly teased to us, but by proxy Harriet Vanger's story we assume is also Lisbeth's.

Daniel Craig is curiously cast perhaps because he's a better looking version of Michael Nyqvist, the Swedish blonde with a poxy face who played Mikael in the original film. Craig embodies the intellectual and political savvy of Blomkvist with aplomb. He's not glorified with sexual allure like in the Bond films. Craig's attractiveness comes from his ability to analyze the minutiae of data and evidence.

As expected, Fincher plays out the procedural aspects of the story with a wicked sense of pace. Under the tough but moody sounds of Trent Reznor and Atticus Ross, he makes the 158-minute running time fly by without notice.

Unlike the first film, Fincher ambitiously extends the narrative beyond its natural ending for another 20 minutes to close off the plotting of Blomkvist's legal troubles and to some degree his relationship with Salander. It's a tightly plotted montage sequence, the kind that normally exists in the second act to compress time, and by all rights as a denouement it shouldn't be there. But this all works simply because of Larsson's intriguing pulp narrative, rich with multi-generational back stories and strong themes of feminism under Fincher's singular and unwavering vision and filmmaking skills.

Seven

Seven (1995) dir. David Fincher
Starring: Brad Pitt, Morgan Freeman, Kevin Spacey, Gwenyth Paltrow

****

By Alan Bacchus

There’s no doubt that Alien 3 was a false start, which makes Seven David Fincher’s launching pad, a film which instantly brought forth Fincher’s now signature visual style – slow meditative character films buried inside stimulating visceral subject matter and controlled and precise visual aesthetics. Seven is still a masterpiece of the serial killer genre, one of the only films that can legitimately stand beside the gargantuan Silence of the Lambs.

At a glance the familiar hook of the Seven Deadly Sins might suggest something exploitative – a conceptual skeleton without much skin and bones on the outside. This is not the case. Seven is rich in character and theme, and those truly spine tingling impact moments the genre demands. In short, Seven has everything going for it.

At its core Brad Pitt and Morgan Freeman make a dynamic duo. It’s a familiar introduction with Det. David Mills (Pitt), a hungry young newbie detective who purposely chooses the most vile police district in town to relocate to, and Det. Summerset (Freeman), a veteran who is literally days from retirement. Whether or not writer Andrew Kevin Walker purposely wrote in this played out cliché of the near-retired cop, it successfully disarms us to the calculated unconventionality of this film and the deeply cynical view on life presented to us.

Of course, there’s a serial killer in town named John Doe who’s been killing people using the motivations of the Seven Deadly Sins. Whenever the men seem to get a break in the case it only leads to where the killer wants them to go. As such, we don’t even realize it until the end that the journey of the film is the killer's, leading our heroes into a trap so grandiose and diabolical, even after several viewings.

The audience knows there’s going to be seven murders, and though we’re expecting them all one by one, we never feel any predictability in the journey. The first couple of murders are shot and edited with care showing the procedural duties of the cops. But as each new body appears Fincher doesn’t repeat himself and keeps the film moving at an increasingly aggressive pace.

A few key action set pieces are magnificently choreographed. Namely, a remarkable chase sequence through the killer's apartment building and a siege sequence into what the detectives suspect is the killer’s lair. Each of these sequences is driven by the quietly pulsing rhythms of Howard Shore’s underappreciated but amazing score. Fincher is not shy to rip off the feel and tone used by Shore in his Silence of the Lambs score, or his work on the great Cronenberg movies of the ‘80s. The sounds are remarkably simple, slow and brooding ambient pulses that feel like jolts of energy guiding the film toward some kind of fire and brimstone hell.

And indeed by the final act Fincher pays off his intriguing setup with ultimate panache. It’s easy to tease an audience with secrets unrevealed, but to pay off the anticipation without shameless exposition is difficult. Hell, even Freeman’s character Summerset explicitly remarks to Mills, “Don’t be surprised if his head pops open and he were the devil himself. If it turned out he were actually Satan, then that might live up to our expectations.”

The arrival of that delivery truck down the desolate sun-streaked road in the desert and the painstaking reveal of that box and what’s actually in it indeed lives up to our expectations. It’s a truly earth shattering cinematic moment and the final stamp on one of the best films of the ‘90s. It’s arguably the best film of Fincher’s career and one of the best of its genre.

Unboxing 'The Social Network' Blu-Ray

The Social Network (2010) dir. David Fincher
Starring: Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Rooney Mara

****

By Alan Bacchus

Second time round on Blu-Ray, The Social Network holds up just as a well as the first, a remarkably well-told story of Facebook and the quick and mighty rise of the site and it’s founder, Mark Zuckerberg.

Sony Pictures will release the Blu-Ray/DVD on Tuesday Jan 11, but I only received the press release a few weeks ago (Dec 23rd to be exact). It’s a mighty fast release considering the film was only released Oct 1st, and the film was still in 250 theatres in North America. The film has been winning virtually every major critics awards, in addition to its numerous GG Nominations. So I guess there were two choices 1) re-expand the film into theatres again, once the Oscar nominations come out (Jan 25, 2011) and thus capitalize on the usual box office spike which comes with ‘Oscar Season’, or 2) Release the Blu-Ray/DVD version and have this spike applied to Home Entertainment sales.

Sony obviously chose #2, and it seemed to be a last minute decision, considering the short time between when the press release went out and the street date, next Tuesday.

Thankfully, Sony has spared us a no-frills version of the film, unlike the shameful initial Paramount release of Zodiac, which didn’t feature any supplements, only to be trumped by a full double-disc director’s cut version of the film a year later. Sony gets it right the first time round.

This decision and the unique packaging of the product is congruous with the general themes and content of the film. The physical packaging is barely recognizable as a movie, let alone The Social Network. It’s a dark navy blue cardboard slipout box, with the poster tagline enbossed on the front. The credits on the back but also in navy and barely visible. And the only place we can find the title of the film is the side, which is also in the same colour scheme. Sony, of course, has included a slip cover which has the poster and technical details so it stands out on the shelves, but when it goes on your shelf at home, it’ll be the non-descript innocuous version I just described.

Inside, the simplistic theme continues. Rewatching the film again, it fits in with one of the major sources of conflict for the main characters, the monitization and exploitation of the site for money. When the Zuckerberg character shows Eduardo the first mock-up of the site, his first comment is about the simplicity of design and function. Such is the case here. After popping in the Blu-Ray it takes little time to load the content, little time before we get picture on the screen, and there’s absolutely no trailers, previews or anti-copyright ads prior to the feature. Immediately we get the menu screen, and it’s ready to play.

The feature of course looks freakishly awesome, crisp and perfect like all of David Fincher’s films. Trent Rezner’s score whollops the speakers and especially the subwoofer.

The special features, as expected, completely bypasses the usually featurette hyperbole. The main documentary, entitled ‘How Did We Ever Make a Movie About Facebook’, features interviews with the participants involved against a white background looking right into camera (perhaps using Errol Morris’ interrotron interview device) and breaking down the process of making the film. We’re dropped right into pre-production with a verite-style camera, a fly on the wall, watching the process of David Fincher. In particular the story sessions with Aaron Sorkin and the actors breaking down the subtext of the dialogue is awesome.

No press junket footage here, no canned answers, raw, substantial, but also controlled and expertly edited sneak peak behind the scenes.

I think Mark Zuckerberg would be approve. I certainly do. Pick this one up, ASAP. And if you don’t have a Blu-Ray player, pick that up too, along with a 42” HDTV and a HD Sound System.

The Social Network is available on Blu-Ray from Sony Pictures Home Entertainment

Alien 3

Alien 3 (1992) dir. David Fincher
Starring: Sigourney Weaver, Charles S. Dutton, Charles Dance, Paul McGann, Brian Glover

***

By Alan Bacchus

I like Alien 3, always have, though the opening is especially depressing and frankly shameful to the throughline of the series. After the harrowing narrow escape by Hicks, Newt, Ripley and the severed body of Bishop, at the end of Aliens, the producers of Alien 3 open up the movie killing off all but Ripley while in hypersleep.

Perhaps Michael Biehn didn’t want to come back for another film, or perhaps no one wanted him back. As for Carrie Henn, Aliens was her only role and she left the business. Either way, there’s no problem writing them out of the movie, but killing them off just after they escaped from the last picture, robs their characters of their narrative purpose in this big picture cinema reality.

But it’s Hollywood and we shouldn’t be looking back at these other films as sacred right? That’s debatable. To the filmmakers’ credit they did give appropriate screentime to Ripley’s grieving of their loss as well as a decent funeral, along with a fantastic eulogy by Charles S. Dutton’s character Dillon.

If you can get over the loss of Newt and Hicks, Alien 3 makes for a rather enjoyable chapter in the saga. As mentioned, we join up with Ripley recovered from her derelict spaceflight by a ragtag group of space prisoners, incarcerated on a planet not unlike the island prison of Alcatraz or Australia for that matter. Ripley suspects an alien was on board which caused the havoc, but an autopsy of Newt proves negative. But what about Ripley? She has had a funny feeling in her chest lately...

Meanwhile on the prison planet, her female presence is unwelcomed by certain inmates who have taken a vow of chastity and found God in pennance for their crimes of rape and murder. Ripley finds friendship in the kind and soft spoken doctor Clemens (Charles Dance) and the inspiring people’s leader cum gospel orator Dillon (Dutton). Of course, yes , there was an alien on board, and yes, he’s run amok again killing the prisoners one by one. Ripley assumes leadership and uses the resources of the decrepit prison to evade the creature and hopefully kill it for good.

This was David Fincher’s first feature, and the on set conflict has become widely known, something which is honestly addressed in fine making-of documentary on the Alien Legacy Blu-Ray Box Set (though it’s the same feature from 2003 DVD release). And so, knowing Fincher’s track record of great films since, there’s even more value looking back at his artistry in this film. His music video look is more apparent here than anything he’s done since. I mean just look at the camera angles, 75% of which are shot from the ground look up at his characters. It’s a stylized look which over time tends to wears it's welcome.

The design of the new alien is fresh though. This new beast is more nimble and fleet of foot than aliens of past. The final chase sequence is a terrific set piece, highlighted by the great point of view shots of the alien scurrying over the floors, walls, and ceilings of the cavernous tunnels.

Three great characters anchor the emotion of the film. Charles Dutton is simply marvelous whenever he says anything. The cadence in his voice is soothing and dramatic and inspiring. Charles Dance is a delightfully warm character, a tortured soul and we can see why Ripley so quickly hops into bed with him. Yes, Ripley gets laid, and by god, it’s about time. After all, it’s been about a hundred years!

SPOILER ALERT... Sadly the film ends with a terrible sequence involving Ripley committing suicide falling into a pit of molten metal, in slo motion, while an alien rips out of her chest. Like the fate of Newt and Hicks, I begrudgingly forgive this silliness, in order to enjoy the rest of the film.

Alien 3 is available on Blu-Ray in the Alien Legacy Set from 20th Century Fox Home Entertainment

The Social Network

The Social Network (2010) dir. David Fincher
Starring: Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Rooney Mara

****

By Alan Bacchus

After the misfire of The Curious Case of Benjamin Button, I refused to be completely hyped for The Social Network, despite being a devoted fan for all of Fincher’s other pictures (yes, even Alien 3). Shame on me for doubting that the man couldn’t pull off of the ultimate internet zeitgeist film, on par with the place-and-time examination of the Watergate in ‘All the President’s Men’.

It’s not too early in the cinematic life of this film to start making comparisons. After all, Facebook seems like it’s been around forever already. With the astonishing expediency of internet technology these days, I was surprised when reminded that Facebook was only born in 2004, which makes The Social Network a story of modern history. History that continues to be made, but a film that manages to throw a bullseye into the feeling of excitement and confusion of an event in the making.

Such was the case with All the President’s Men, a masterpiece which was made only 3 years after Watergate yet managed to put everything into perspective without the benefit of hindsight.

To tell the ‘story of Facebook’ Fincher has shown us the character of Mark Zuckerberg, a Harvard student, long on smarts, but short on (ironically) social skills, and the controversial chain of events which led to it becoming the second most popular website in the world. It started with a girl, Zuckerberg’s break up with his girlfriend which results in him spending the night getting drunk and creating a misogynistic ‘Am I hot or not’ website for Harvard women called Facemash.com.

His skills and success of this rudimentary site catches the eyes of a group of privileged Harvard gentlemen and twins Cameron and Tyler Winklevoss who ask Zuckerberg to create another social media website called HarvardConnect. Zuckerberg quickly disposes of that idea and builds his own social media website, thefacebook.com. Together with his roommate Eduardo Saverin (Andrew Garfield) and Dustin Moskowitz Facebook is created from their dorm room. As seen in a series of court hearings in the future we know that Saverin and the Winklevosses would eventually sue Zuckerberg for stealing their ideas and in the case of Saverin, some other heinous breach of trust. The events which lead to this dissolving of friendship is both thrilling, suspenseful, humourous and sad.

If anything the opening scene is the weakest link. I understand why it’s there though, and I know people will see this conversation as a brilliant piece of writing, but in the context of the film which comes after it, it doesn’t quite fit. It feels like an Aaron Sorkin scene, its shear length, for one, makes the audience ‘notice’ the scene, and it's the only moment in the film that we are aware that we’re watching a film. But it sufficiently sets up Zuckerberg’s character and motivations for the rest of the film.

After this scene, the film is jump started with breathless pace

Fincher uses all the tools of his well-honed cinematic toolbox and his brand of matter-of-fact storytelling at it’s best. It’s the tone of Zodiac, a procedural through and through, which develops its character as it clips along with great pace. It’s also 45mins shorter which bodes well for everyone’s valuable time. Like Zodiac, Fincher positions the film without a traditional beginning or ending, throwing us right into the complicated character of Mark Zuckerberg, and ending the film with an open door, a saga which continues to be written.

While Aaron Sorkin’s screenplay sings on key better than anything he’s ever done, I’d argue that Kirk Baxter and Angus Wall’s phenomenal editing work is the stuff of real genius in this picture. The editors manage to move back and forward in time without that awful, ‘flashback’ feeling we could get otherwise. Baxter and Wall expertly cut between the hearings of Saverin’s and the Winklevoss’s case with the events in the present with such skill, if anything it feels like multitasking between open windows on one’s computer.

As fascinating as the big picture is, the film works as well as a character study. Mark Zuckerberg is fascinating. The type of smartest-guy-in-the-room character we see on shows like The Big Bang Theory, a type A geek, so full of himself, so cocksure and egomaniacal, the right kind of cutthroat attitude for American big business. We instantly feel like we know Zuckerberg, yet throughout the film he remains an enigmatic mystery. Like Citizen Kane, he’s a brilliant asshole, stepping over anyone to get what he wants, and whose motivations stem from a deep self-loathing, jealousy and need for approval. For Kane, the root was his misplaced childhood represented by the iconic Rosebud sled; for Zuckerberg, it’s the class hierarchy of the Harvard institution represented by the preppy old money ‘gentlemen’ of the Winklevosses and his lost love of Erica Albright which caps off the film with Fincher’s own version of the Rosebud reveal. It's also the best thing Jesse Eisenberg's done since the Squid and the Whale, and he should be destined for Oscar night inclusion.

As rendered by the great ensemble of actors around Eisenberg, The Social Network features Fincher’s most accessible and well drawn characters of his career. Justin Timberlake is fantastic, playing the bombastic Napster impresario Sean Parker. As much a flake as he is, he serves as the perfect enabler for Mark. Which makes their first lunch room meeting so interesting. In this scene Fincher/Sorkin are setting up the central conflict between Zuckerberg and Saverin, with Parker serving as the poisoned pill in the friendship. And in that scene, Fincher places the audience in the shoes of Saverin, sympathizing with his distaste and distrust of Parker, yet the words coming out of his mouth are profound, inspiring and most importantly, the right direction for the company. This type of complex conflict continue throughout film.

As good as All the President’s Men was for politics, The Social Network does the same for business. It’s one of the great business stories ever made in cinema, Wall Street. The Insider, even Citizen Kane.

The Curious Case of Benjamin Button (Blu-Ray)

"The Curious Case of Benjamin Button" lands on DVD and on Blu-Ray (presented with prestige by the Criterion Collection). There's no doubt the film seemed to divide audiences - those who were moved by the melancholy sadness of a man living backwards, and those who detested the abhorrent length and conflict free sappiness. Click HERE to see what I thought. But, at least for Fincher fans who disliked the film they get a full dose of the fastidious director in this glorious special edition, unlike the lame 2-Disc version of Fincher's previous outing, "Zodiac".

A documentary even longer than the film is the showcase piece for the special edition. Divided into three 'Trimesters', plus a final chapter called 'Birth' every aspect of the project is given detailed examination. The most interesting of the documentary elements is the development of the project which began in the mid late 1980's. It seemed to be one of those legendary projects in Hollywood which got turned around numerous times passing through many different creative hands - Frank Oz, Steven Spielberg, Ron Howard, with names like Martin Short and Tom Cruise attached.

We expect the best from Criterion and indeed we're saved the annoying EPK retooling we usually get on regular studio releases. The package delivers a true making-of documentary, with fresh new interviews artistically photographed against a stark black background with the subject looking straight into camera.

Of course, it's still a promotional piece, and there's much praising all around for everything to do with the film, but it does provide fun adecdotes and tidbits of information for all cinephiles. Techies will certainly appreciate the attention given to the choosing of the camera. Fincher, who nows works in the digital realm, had a number of 2k Digital Cameras to choose from - but it came down to the Red or the Viper, which will it be? Not high stakes drama but a fun nod to the American Cinematographer geeks who will buy the disc.

ZODIAC DIR CUT (BLU-RAY)

Zodiac Dir Cut (2007) dir. David Fincher
Starring: Jake Gyllenhaal, Robert Downey Jr., Mark Ruffalo, Chloe Sevigny

****

David Fincher's films are what high definition was made for. His high contrast underlit dark images barely held together on standard DVD, but now with the wide contrast range of the high resolution format the film can fully be experienced in all it's pristine glory.

"Zodiac" in standard definition is a frustrating experience. The opening scene takes place at night as we see the tragic first victims of the Zodiac's rampage of terror. In standard definition I found myself struggling with the contrast, brightness, and colour settings in order to see everything in this scene. As well, in standard def, Fincher's green tint seems to get amplified to gross levels on a plasma screen. Yuck.

And now with the release of Paramount's BLU-RAY version of the film, "Zodiac" can be viewed properly. It comes in the form of a 'director's cut'. Unfortunately after watching the cut, I didn't notice anything new in the film. I guess that's a good thing, because there was absolutely nothing wrong with the film in the first place. The best new addition is a conference call between Ruffalo and Edwards' characters and the District Attorney pleading for a search warrant for Arthur Leigh Allen's trailer. The scene reinforces the desperate frustration the characters feel in catching their killer.

The two lengthy documentaries fulfill the technical and historical backstories to the story. The making of documentary is told by the producer and writer of the film in an Errol Morris-style point of view against a white background. Unfortunately we never see Fincher discussing his film (you have to click on the audio commentary for that). Instead, Fincher's methods of madness are discussed at large by everyone involved in the film. Everyone gets their shot. The anecdotes of his obsessive pursuit of perfection are enjoyable, specifically Gyllenhaal's description of some 40-odd takes to catch a non-descript close-up cutaway of a book on the seat of his car - the kind of obsession that approaches Kubrickian heights.

The scene-by-scene analysis of the special effects are fascinating. A few of the effects clearly stand out as computer generated, but others, such as the crime scene after the taxi-cab murder is completely invisible - which showcases some more Fincher's at-all-costs approach to achieving his vision.

It's hard not to think of the similarities between Fincher and Robert Graysmith. The obsessions of Graysmith which resulted in two masterpieces of true crime is matched only by the meticulous detail Fincher applied in making his own masterpiece. And in High Definition the elements of the puzzle fit together for all to see in an obsessively perfect pristine picture. Enjoy.

THE CURIOUS CASE OF BENJAMIN BUTTON

The Curious Case of Benjamin Button (2008) dir. David Fincher
Starring: Brad Pitt, Cate Blanchett,

**1/2

Midway through this film when a sense of slogging tedium set in I had flashbacks to another lengthy Brad Pitt mood piece, “Meet Joe Black”. “Benjamin Button” is not nearly as bad, yet some of the same faults nearly drown this sometimes fascinating sometimes dreary tragic fantasy tale.

It’s present day New Orleans just before Hurricane Katrina is about to hit, an elderly woman on her deathbed recounts to her daughter the diary of the life of Benjamin Button, her one true love. Flashback to 1920's New Orleans to start the lifecycle of Benjamin Button who began life as an old man (still a baby) and regresses in age to eventually a young handsome man to a young boy then a baby.

Benjamin is brought up by a kindly black woman after the swaddling clad baby is left on her doorstep. The irony is not missed by anyone as Benjamin grows up in her adopted mother's senior citizens' home. He falls in love with Daisy (Cate Blanchett) on first site (is there any other way to fall in love in the movies)? Because of Benjamin's condition their relationship can only blossom when their ages coincide with each other, in the middle. Before then Benjamin tours the world in a tug boat, but always keeping tabs on Daisy. When they finally have a chance to be together it's about 10 years of bliss before Benjamin realizes at some point they will diverge and be unable to grow old together.

The special makeup effects which make Brad Pitt an elderly baby and wrinkly naive child are astonishing. Fincher never jumps far enough in time to provide the drastic physical change we expect. Instead it's a gradual change from old to young. We barely even notice the difference in age from scene to scene. On the technical level the film is a triumph.

“Meet Joe Black” comes to mind because that lengthy Pitt film was plagued with Benjamin Button’s ailments. A distinct and seemingly concerted lack of conflict. The film tries to sustain two hours and forty five minutes of tenderness without a single break of tension, anger, danger or stress, which comes as a major surprise from a director who has made a career from dark material.

Button is drenched with so much tender melancholy and whimsy it’s like Miles Davis playing the harmonica for an entire symphony – one note or one key the entire film. Since Fincher is so obsessive about controlling the tone of his films I don't think he ever forgot to put in the conflict. It's a conscious decision which gives the film it's distinct fairytale quality.

Benjamin never raises his voice, never sheds a tear, rarely even smiles or laughs. Even when he catches up with his age, Benjamin feels like a fish out of water, like Klaatu in ‘The Day the Earth Stood Still”. This alienness to his surroundings feeds into his innate transient nature and the painful decision he makes in the end. The finale brings powerful feelings and emotions mainly because it took so long to get there – a necessity in storytelling terms but often painful and tedious.

The sheer length can be maddening for the impatient, and especially for those who thought “Zodiac” was too long. Are the genuine feelings of sorrow worth the nearly three hours it takes to find this epiphany? It’s worth a shot, but a journey I have no desire to take again.

The Curious Case of Benjamin Button

ZODIAC

Zodiac (2007) dir. David Fincher
Starring: Jake Gyllenhaal, Robert Downey Jr., Mark Ruffalo

****

On DVD tomorrow is “Zodiac”. It's David Fincher’s second turn at the serial killer genre, but this one differs because it’s based on real events. As a result, the film isn’t about dramatic manipulation or exploitation instead it’s a lengthy examination of the uncovering of the facts very much akin to “All the President’s Men” (see my previous review).

From 1969 to 1979, the Zodiac killer terrorized the San Francisco Bay area with a series of random and indiscriminate murders. The killer had no modus operandi or motive, and, as a result, the killings remained unsolved for a long time. The film, event-by-event, recounts the hours, days and years spent by the cops and reporters involved with the case.

The first half of the film deals with the first 5 years of the case and centres on the chief detectives, Mark Ruffalo and Anthony Edwards (good to see him back on the big screen) and the newspaper reporters writing about the case, Robert Downey Jr. (Robert Avery). In the background but uninvolved, is Jake Gyllenhaal, a cartoonist (Robert Graysmith) who silently observes the case over people’s shoulders.

The depiction of the murders are grisly – though not as gruesome or dramatic as “Seven,” but perhaps more terrifying knowing that they actually occurred. The point of view is always with the facts of the case, and therefore we only see the killer during the killing scenes. As a result, he remains a mysterious figure throughout the film and when the police confront a potential suspect, we, the audience, judge their faces and unconscious actions as if we’re the investigators as well.

The second half of the film centres on the obsessive “JFK”-style reinvestigation of the case in the latter 70’s by Graysmith (who went on to write 2 true-crime bestsellers). With the killer dormant, the case had remained unsolved, but without new evidence no one is rushing to pursue it. As Ruffalo’s character says, there have been 200 murders since the last Zodiac killing, why should he devote his attention away from these? So why is Graysmith pursuing the case? What’s his angle? Is it for justice, or is it because, as he says, he likes solving puzzles?

The compression of time would seem to present a challenge, as the film jumps through the weeks, months and years with speed. Traditional methods of identifying new time periods are thrown away in favor of a simple on-screen text like “three weeks later”, or “3 years later.” The characters don’t change, nor should they have to. They are real people and professionals at their jobs and it all works.

“Zodiac” is one of the most purely procedurals films ever made. The film doesn’t shy away from bombarding the audience with too much information (aka ‘exposition’ which is considered ‘lazy’ screenwriting). But as with “All the President’s Men,” the facts, or in this case, the evidence, are as important as the characters in the film.

"Zodiac" runs two and a half hours but feels like an hour and a half. Like a roller coaster ride, I wanted it to go longer. But the ending is natural and provides sufficient closure. You’ll know it by the post-script crawl. And you certainly won’t forget the hypnotic use a Donovan’s “Hurdy Gurdy Man” which bookends the film – in fact it’s still in my head as I type this.

As an aside, if anyone’s interested in the technical side of the film you'll know David Fincher’s films always look crisp and sharp. This is his first film using HD Video, and it’s a perfect match. The results are superb, thanks in part to the new Viper camera system and the great cinematographer, Harris Savides, who gave the film a classic cinemascope look. Unlike, say, “Miami Vice” it’s the best looking HD film I’ve seen. I’m officially sold.

Please don’t go into the film expecting a gruesome extension of “Seven” or a twisty-turny “Fight Club”, it’s “All the President’s Men” through and through - consummate professionals who live and die by the details and procedures of the job. Enjoy both films.

Buy it here: Zodiac (Widescreen Edition)

THE GAME

The Game (1997) dir. David Fincher
Starring Michael Douglas, Sean Penn

****

Looking at David Fincher’s career, “The Game” is sandwiched between his two definitive films so far, “Seven” and “Fight Club”. That’s why I consider “The Game” to be Fincher’s “The Conversation” (in reference Francis Coppola’s 1974 film he made in between the two Godfathers).The comparisons go even further; both are minimalist, quiet films about control-obsessed characters that become manipulated by outside forces. Both take place in San Francisco, and both are largely forgotten masterpieces in both the filmmakers’ respective careers. I don’t just throw the ‘masterpiece’ away either. If you revisit “The Game”, you’ll find it an intense roller coaster ride and worthy of the highest acclaim.

Nicholas Van Orton (a perfectly cast Michael Douglas) is a high-powered divorced executive with the power to ruin lives. On the day of his birthday, his free-living brother (Sean Penn) gives him a special present - an invitation to play a game, run by “Consumer Recreation Services – CRS”. The Game is mysterious, not many details given. He shows up at the CRS office and is given a series of endless, mind-numbing psychological tests. The banality is tedious; it lulls Van Orton and the audience into a sleep – or a hypnosis. From now on, we are no longer in control; the Game and David Fincher are controlling us.

Van Orton’s ‘Game’ will be brought to him and it comes in a series of small mishaps and challenges starting with a conspicuously annoying leaky pen and snowballs into Douglas’ character being locked in a coffin and left for dead in Mexico (which incites a great moment of dry humour at the end). The stakes are raised even higher when Van Orton’s bank account is cut off, as it appears he’s been the victim of an elaborate scam. We are pulled through the twists and turns of the script. We’re in Van Orton shoes the entire time, and never have more information than the main character. This is the key to sustaining the momentum and suspense of the film.

The film is dark and shadowy, which is Fincher’s trademark. The music is quiet and brooding, and reflects the anti-septic life Douglas’ character lives in. Flashbacks to a painful moment in his past reveal a lot about the purpose of the Game and why Van Orton was chosen to participate. The puzzle slowly comes together in a riveting climax that had me guessing all the way to the end.

“The Conversation’s” Harry Caul and Nicholas Van Orton are cut from the same mold – private, obsessed individuals who are stripped of the control in their lives, and broken down to be built up again as better people afterwards. We only assume both Harry and Nicholas would have changed their careers and started new, more fruitful and productive lives. Therefore “The Game” becomes a lesson for all of us, whose careers and obsessive goals alienate our loved ones and distract us from enjoying the best moments of our lives.

But enough of being deep, “The Game” rocks!! Check it out. Enjoy.