Only By The Night: Review of Nightcrawler

Nightcrawler

Director: Dan Gilroy

By Alex Watson

Finding your true calling this world is never an easy thing and some of us chop and change careers as frequently as we change our clothes. Some chosen paths can happen completely by accident and at times they may ones less than desirable. Debut director Dan Gilroy this week shows us an ambitious young man going into the heart of darkness of the LA crime scene is his eye opening thriller Nightcrawler. 

Lou Bloom (Jake Gyllenhaal) is a Los Angeles drifter who is desperate to be a success. One night while driving home he witnesses a car wreck and sees news cameraman Joe Loder (Bill Paxon) filming the carnage. At this very moment Lou realizes that he has found his new career and he sets off starting his company. But his obsession with making the lead story on the morning news will take Lou down some very dark paths as he continues to cross lines into near insanity.

For his first film behind the lens, director Dan Gilroy has created a film that is truly remarkable and his satirical and adrenaline pumping film makes for one of the most awe inspiring experiences of 2014! With a cracking script in its armory, Nightcrawler succeeds as a magnificent character and psychologically driven film which never once dips below riveting. Lou Bloom is an astounding character creation, with thin and almost gangly appearance mixed with his strange and almost stereotypical businessman speak "If you want to win the lottery, you have to make the money to buy a ticket." makes him one of the real antiheroes of years gone by.

When we are first introduced to him, Lou seems to be a man who is desperate to be his own boss. But his eyes go wide with fascination when he views his first news crew and being informed "If it bleeds, it leads!" After that Lou buys himself a fast car, a police scanner and hires a rightly nervy assistant called Rick (Riz Ahmed). From here Gilroy makes a strong commentary on what just what lines can be crossed ethically and morally for viewing pleasure. Each shot he brings to stoney news director Nina (Rene Russo) of blooded victims on the streets ensures ratings go higher and pushes Lou a step further forward. One scene sequences shows him gleefully involved in a chest tightening car chase, but through the stunning camera work from DP Robert Elswit it feels as genuine as any you will see in cinema!

Lou's cross over into near delusion makes Nightcrawler absorbing viewing. With his eyes flared continuously at the thrill of the game and his obsession over his 'company' being a success he goes from being clueless at understanding police radio signals to happily invading or in some cases inventing his own crime scenes. At several points to get the perfect story, but his actions get increasingly erratic and only newsroom guy Frank (Kevin Rahm) seems to be appalled by how low his morals have sunk. Each point where he goes over the boundary, Gilroy pulls it off with such a raw comic feel that we do not know whether to laugh or feel disgusted.

But the principle strength of this film goes down to Jake Gyllenhaal's stunning performance. As Lou he is brilliantly able to bring across his weird and convoluted persona mixed with his high pitched cheap business like vocabulary. The greatest thing about watching him on screen though is the fact that this is a performance that is continually evolving. Although we are perturbed by his oddball appearance and shudder at his intentions, we still yearn for him to make it big and Dan Gilroy deserves praise for making such a character palatable. Gyllenhaal could well be a long shot for awards glory because here he holds the screen with such force it is impossible to look away.

Nightcrawler may not be the easiest viewing you will have this year but it is by far one of the most exciting and brilliantly directed. This film deserves a place among your film collection next to Drive and any other blood flowing movies because it is rightly destined for classic status!

The Stage is Set: Review of Whiplash

Whiplash

Director: Damien Chazelle

By Alex Watson

We have all had that one teacher who is just tyrannical and control the class with a rod of of iron. It forever seems that they feel that the harder they shout, the further fear will push us onwards. The effect always varies and sometimes you can push that one person to breaking point. Director Damien Chazelle this week explores one teacher and pupil relationship where a mentor will stop at nothing, no matter how hard to achieve glory. Prepare for some tense viewing in Whiplash.

Andrew Neyman (Miles Teller) is an aspiring young jazz drummer at Schaffer Conservatory of Music in New York City who yearns for greatness. When his talent is noticed by notorious band conductor Terrence Fletcher (JK Simmons), he offers him a seat in his band. Upon arriving, he quickly realizes that his mentor is one so obsessed with glory that he freely and harshly abuses his students to get desired results! While aware of that his entire future can be cut in an instant, Andrew strives to be the best he can be- but this could all come at great cost!

Whiplash is an intense but ultimately a stunning and dominant piece from Damien Chazelle that completely restructures the music film genre. The opening scene gives a key indicator for what is to come in the relationship between Fletcher and Neyman, as the teacher finds him hammering away late one night. Within seconds he has launched into a verbal tirade and leaves the room. Fletcher is a man who can instantly command attention, clad in his tight black t-shirt and armed with a variety of mean and inventive insults "If you deliberately sabotage my band, I will fuck you like a pig." he proves to be the movies knife-edge!

The scenes in the class room prove to be the real psychological tension of the movie as Fletcher's frightening persona rears its ugly head. The musicians in the band are there to play to complete perfection, even the slightest off key note results in their teacher snatching the air then viciously humiliating them in front of the entire class! From this point onwards, the man proves to be a powerful but destructive force in Andrew's life and although he is pushing him towards his goal, he is also driving him to the limits of control. As Terrence denotes “There are no two words more harmful than ‘good job,’" and although the fear he provides keeps them focused, it is more harmful than he realizes.

As a character, Andrew doesn't always have our complete sympathy because although he goes from a shy young man struggling to ask out pretty cinema clerk Nicole (Melissa Benoist) to practically spilling out his inner ego on stage. Coming from a family of low achievers, including his quiet teacher father (Paul Reiser), his dedication to becoming perfect is one that is troubling throughout. Fletcher's presence haunts the movie even when he is off stage and fearing for his band future, Andrew continually plays hard until his skin bleeds to 'Earn the Part'. The movie's tempo is set very high by Chazelle all the way through Whiplash and we can sense that a conventional happy ending may not in store for either character.

But the end result we are given provides one of this year's most memorable climax's as the two men showdown on music most fitting battleground- the stage! What begins as a seemingly harsh act of betrayal turns into a moment that no one is likely to forget and provides an exhausting but utterly thrilling feel. Terrence is fond of telling Andrew the story of jazz legend Charlie 'Bird' Parker having an cymbal thrown at his head by Joe Jones, without giving too much away I will simply say the legend will come full circle.

JK Simmons makes for a monstrous yet absolutely magnetic presence in Chazelle's film and finally makes the transition from reliable character actor to potential prize contender. A powerful yet horrific force, Simmons blindingly turns in what could prove to be a career defining performance! At long last audiences are witness to what this man can do when pushed into the spotlight, Fletcher is a man so volatile that even Jonah Jameson from Spiderman would recoil in his presence! Up and coming star Miles Teller is equally superb as the fame hungry Andrew. His role is one that is not only physically demanding but also emotionally draining. On both counts, Teller soars highly and shows us a new talent is around the corner- his casting in the upcoming Fantastic Four reboot could prove smart business.

Whiplash is a film unlike any other that you will see this year and through the electrics turns from Simmons and Teller along with the hyper real direction from Chazelle, you are given a picture that will have you attention from the first drum note played! Also it will make you think of the ultimate price of fame and whether it is worth maybe losing yourself?

Flying Without Wings: Review of Birdman

Birdman or (The Unexpected Virtue of Ignorance)

Director: Alejandro González Iñárritu

By Alex Watson  

If someone had told you that acclaimed Mexican director, Alejandro González Iñárritu's return to the big screen would be a black comedy starring Michael Keaton (aka Batman) then most people would probably ask you how many pints you had consumed! But it appears that this has come to fruition and the Babel and Amores Perros director returns with his dark satirical film, Birdman. Keaton hasn't had a role this meaty in years, can Iñárritu bring out the best in him? 

Riggan Thompson (Michael Keaton) is a washed up movie star who was once the beloved star of the Birdman movie franchise. In an attempt to be taken seriously, Thompson is adapting a Broadway stage production of Raymond Carver's story 'What We Talk About When We Talk About Love' which has been beset by problems, including egomaniac method actor Mike Shiner (Edward Norton) and his drug addict assistant daughter Sam (Emma Stone). But in the midst of the mayhem, can Riggan keep his head and give an 'honest' performance? 

Birdman is a bizarre but ultimately brilliant piece of original work from Iñárritu. Armed with a fascinating pitch black tone and beautifully shot by Emmanuel Lubezki, the Mexican maverick has created something truly special and the talented cast succeeds in carrying the weight of expectation. Riggan is a man who after passing on Birdman 4 over 20 years ago, has become permanently trapped inside his winged character (the character speaks to him in his mind off stage) and he is straining regain any sense of credibility which on stage is difficult to come by, as Lindsay Duncan's acid tongued reviewer tells him "You're a celebrity, not an actor!" and then informs him she will destroy his play for invading her turf before she has even seen it.

The camera work by Lubezki also contributes a great seamless feel to this movie and as we glide in and out of various rooms, it feels as if we are glimpsing the actors in their most personal moments which gives an almost intrusive feel to proceedings. The script however by Iñárritu , Nicolas Giacobone, playwright Alexander Dinelaris and Armando Bo, is one to savor. Together they bring us a story complete with shocking yet natural humour along with a building psychological feel of a man who has bitten off more than he can chew.

All around Riggan's production there are problems to be seen, firstly star Lesley (Naomi Watts) has encouraged him to bring on board her arrogant boyfriend Mike, who although a big box office draw is immediately dismissive of Riggan's talent and seems to cause mayhem over the littlest details, including drinking real gin rather than water on stage which results in disastrous preview performances! Along with being continually belittled by Sam for being more of a 'has-been' because he rejects bloggers and twitter, the man's mind is beginning to crack and his feathered friends words are speaking louder than ever.

Iñárritu also makes the audience think about a number of important factors such as the importance of careful stage planning, the ego of actors and finally what it means to be creative in this world. Riggan is literally investing his whole life in this make or break piece of art and we secretly we fear the effect of an ill received performance. But unlike this earlier work, there is a brilliant sense of rawness and reality to Birdman, which accurately demonstrates the misgivings life in theatre can bring. One sequence we see our hero lock himself out the theatre mid performance and having to make an impromptu sprint through a crowded Time Square in just his underwear! 

Michael Keaton is given the role of a life time to play and he pulls things off magnificently! Playing an man with everything to prove to the acting world, Keaton exceeds all expectations and firmly captures Riggan's ambition along with his continually beaten down persona. Under the influence of his old Birdman friend, Riggan is a man who seems able to put all things aside and make the show go on as planned. A career best for Keaton and it has to be said, a very smart piece of casting by Iñárritu because few men on the planet would understand this role better than Keaton himself!

Edward Norton also makes for a memorable on screen jerk as Mike, his ego soars higher than Birdman himself could probably fly. Throughout the production he berates and insults the man who gave him the role and continually rants on about stage is the only honest acting art. Norton does well to poke fun at his apparently troublesome antics when making movies and firmly marks the supporting honours as his own. Also look for a surprising straight performance from comedian Zach Galifianakis as Riggan's weary lawyer who forever has his work cut out for him.

Alejandro González Iñárritu has delivered one of 2014's most memorable and engaging piece of cinema and Birdman is a stunning change of direction for this man. If you needed proof of Michael Keaton's talent, then look no further than this film. This has one of my highest recommendations and this kind of cinema deserves to be seen by all!

A Mother's Love: Review of Mommy

Mommy

Director: Xavier Dolan

By Alex Watson

French-Canadian director, Xavier Dolan has already made a startling impression upon the film world following his debut 'I Killed My Mother' and he certainly captured some serious mainstream attention (along with the Jury Prize) at the Cannes Film Festival for his feature film, Mommy. Dealing the with story of a single mother dealing with a son who is everyone's best and worst nightmare, this could make for compulsory viewing.

Diane Despres (Anne Dorval) is a widowed woman whose problematic son Steve (Antoine Olivier Pilon) has been released back into her care. Very soon she finds herself overwhelmed by her hyperactive and sometimes violent boy! Help soon arrives from shy neighbour Kyla (Suzanne Clement) who beings to help to repair the cracks that have appeared in their relationship. But the threat of trouble constantly hangs over the pair and soon Diane is forced into a difficult place.

Mommy is one movie that deserves the recognition that it has received because Xavier Dolan delivers a powerful yet painfully fun and honest film. Diane is having to deal with a force of nature in Steve who with his blonde hair and deep blue eyes can flip the switch between charming and dangerous in an instant! We learn early on that Diane is a tough woman with a hard resolve, particularly as in the opening scene we see her involved in a car accident on the way to pick up her son who is being sent back for starting a fire in a boarding school canteen!

From the moment he thrown back into her life, the water continually rises above her head. In one sequence Steve becomes a destructive tornado because she assumes he stole a gift for her! But she refuses to give up on her son to whom she dedicated everything. Their maniac behaviour does give way to the attention of stuttering and introverted teacher Kyla. Although she aids them in healing some wounds, she also appears to be saddled with her own life troubles. Smartly Dolan never fully reveals the trauma that caused her to become so withdrawn around her family which adds to her reclusive nature. But not once does Kyla feel confined to the shadows and her presence through is one of equal strength to Diane.

Throughout there are moments of great joy and an excellent soundtrack including Oasis, Counting Crows, Sarah McLachlan and yes... Quebec native Celine Dion help bring alive the happy buzz. But what goes up must come down and Dolan is forever keeping us aware that change is most likely around the corner. Steve is a sweet boy at heart but ultimately also one that cannot be tamed. One memorable fantasy scene towards the end showcases the life that Diane would love her son to have, but in reality it will probably be impossibility. What follows next will be the sound of heart shattering all around the theatre!

Anne Dorval makes for the perfect muse in Mommy and her portrayal as Diane is one that is awards worthy. Giving great strength along with a playful nature, Dorval succeeds in making us yearn for her to get through to her son and it is hard to imagine anyone else other than her bringing this character to life so believably. Antoine Olivier Pinon proves to be a maniac ball of energy that delivers that fire in the stories belly. His innocent appearance is forever juxtaposed with a constantly burning fuse that could set off at any moment. Pinon makes for a budding on screen talent and Dolan will no doubt be calling on this in future.

Suzanne Clement thankfully doesn't allow herself to be upstage by the powerful duo and as the quiet but passionate soul Kyla, she rings in her own stunning turn.

At only 25 years old, Montreal's Xavier Dolan is already an amazingly self assured director and Mommy is by far one of 2014's most emotionally engaging and naturally funny movies. If you only see one piece of Canadian cinema this year, this one probably deserves your attention!

Three Movie Picks for November

Interstellar (Director Christopher Nolan) 

Chris Nolan's long awaited return to the screen post Dark Knight Rises has been one of great speculation throughout 2014 and through a series of cleverly planned trailers, we have only glimpses of a plot. Starring Matthew McConaughey, Anne Hathaway and Jessica Chastain, we have learned that the story concerns an environmentally destroyed earth and a group astronauts having to navigate a worm hole in space to save it from total destruction. Nolan has yet to put a foot wrong and this looks likely to continue his fine run of form.

Release Date: November 7

Foxcatcher (Director: Bennett Miller) 

After grabbing serious attention at the Cannes Film Festival this year, Moneyball director Bennett Miller returns with a movie that has some serious awards contention. Based on the tragic story of Olympic wrestler Mark Schultz (Channing Tatum) and his notorious relationship with his paranoid coach John Du Pont (Steve Carrell), this movie has proved to be an intense and captivating ride for critics. Featuring possible career best turns by Carrell and Tatum, this could well start making an appearance on award lists soon.

Release Date: November 14

The Hunger Games: Mockingjay Part One (Director Francis Lawrence)

Katniss Everdeen (Jennifer Lawrence) is back on screen Hunger Games fans and she is aiming to make folks in the capital Panem sweat after the events of Catching Fire! So far this franchise has proven to be one of the most exciting and well made of years gone by and has found admirers in both teen and adult markets! Although some may be annoyed that the final story is split over two parts, no one can deny that watching Katniss and her band of followers slowly breaking down walls will be electric to watch!

Release Date: November 21

Gears of War: Review of Fury

Fury

Director: David Ayer

By Alex Watson

As Plato once wrote "Only the dead have seen the end of war" and this will most likely continue to be the case in the world we live in. War films have forever been a staple of good storytelling in Hollywood and Saving Private Ryan has so far set the bar in terms of WW2 films. This week writer/director David Ayer brings us an account of a tank crew facing insurmountable odds in his film, Fury. But how can this movie compete against an already established field?

Sergeant Don 'Wardaddy' Collier (Brad Pitt) is the tortured yet adored soul of a fiercely loyal tank crew consisting of Boyd (Shia LaBeouf), Grady (Jon Bernthal) and Gordo (Michael Pena). The squad is tired of war but continues to kill Germans nonetheless. Things are complicated by the arrival of rookie gunner Norman (Logan Lerman) who has to learn quickly the lessons of war and its scars, particularly when the crew finds itself stuck in the open with 300 armed Germans strolling into view!

David Ayer's Fury is a credible attempt by this man to get away from the police genre he has been stuck with in the past. His movie makes for a compelling view of the strained final days of WW2 and for the most part, it works very well. We open with a potent shot of a German officer on a white horse emerging from the smog and trekking across a field filled with destroyed US tanks. The ghosts of war are already present and the loss of innocence and sense of impending death that follows gives a haunting spirit hanging over Ayer's film.

When we meet our heroes, they are not portrayed as heroes by any means. This group of beleaguered GI's have the horrors of war painted on their expressions, but still they struggle on. Wardaddy is not made out to not be any kind of likable persona. His cold blooded killing of SS officers and often ruthless approach to war such as "History is Violent!" at points makes him no better than the Nazi's he sets out to kill. But as a leader, he has the firm head while the bullets fly and is determined to fulfill a promise to see his boys get home. From this you can see why his group would follow him through fire.

Aside from some neat and tense moments, such as a stunning shot of a sky swimming with bomber planes- Ayer fails to really break any new ground in this film and the stuff on display we have seen too many times before. This squad are the same type of grizzled veterans that Spielberg introduced previously and sadly they fail to add any real depth to proceedings. The side story of the dehumanizing of new recruit Norman is one that feels a little cliched as he goes from wimpy young cub to gun roaring lion by the films climax.

But what it make lack in originality, Fury makes up for it pure thrills and we are given a finale battle that leaves us hanging in excitement. Stuck at a crossroad with 300 germans rolling into view and nowhere to run, the crew decides to make one brave (albeit suicidal) last stand! Watching the bullet swarm around like fireflies and the night sky lit up with shell blastings, this is one sequence that stands out and surprisingly gives us a poignant yet taut ending that it so badly requires.

As normal Brad Pitt does well as the disturbed combat master Wardaddy, but it doesn't feel like a role that particularly stretches his ability. Cleverly Pitt gives his nature a very rough edge and makes him out to be borderline hero and enemy. Throughout though we are drawn to Pitt and he proves to be troubled face of war.

In the supporting ranks, Shia LaBeouf delivers a performance that is surprisingly excellent as war torn technician Boyd. Demonstrating a range of emotion that many wouldn't have thought likely, LaBeouf demonstrates his potential and hopefully this will prove to be some kind of a turning point for this man! Logan Lerman again impresses post Percy Jackson, but although he tries his best, Norman is not the endearing character that we yearn for him to be.

Fury might not be in the same league as more recent efforts such as The Hurt Locker in terms of thrills or good story lines. But it does provide a very realistic and gut stirring view of the last days of war. Aided by some good performances, this is still an effort that deserves your attention.

Five Great Fictional Sports Teams

Charlestown Chiefs (Slap Shot) 

Led by professional schemer Reggie Dunlop (Paul Newman) this minor league hockey team is one of the best and brutal of sports films. Down on their luck until they thrown in violent triplets The Hanson Brothers, the Chiefs soon become the a feared and hated team by others in the league. Perhaps what makes them so memorable is the spontaneity of the violence that ensues and this team of brawlers firmly leave their mark on the opposition.

Miami Sharks (Any Given Sunday)

Oliver Stone's American Football movie may not be to everyone's liking, but you cannot deny he has created a believeable franchise. Refused permission to include real NFL teams, Stone's Miami Sharks are a team who have an unlikely leader in 3rd string QB Willie Beaman (Jamie Foxx) who anchors the team throughout despite an increasing ego! Head coach Tony D'Amato (Al Pacino) may be a little too old school in his methods- but his "Inch by Inch" speech eternally ranks as one of the best pep talks!

Cleveland Indians (Major League)

A bad team thrown together deliberately by its corrupt owner to get the team out of Ohio, the Indians boast ageing catcher Jake Taylor (Tom Berenger), unpolished pitcher Ricky 'Wild Thing' Vaughan (Charlie Sheen) and voodoo power hitter Pedro Cerrano (Dennis Haysbert). Despite the odds being stacked against them, somehow this team finds a way to pull together and soon finds themselves unlikely playoff underdogs!

East Dillon Panthers (Friday Night Lights)

Over five seasons, TV fans hearts were firmly captured by Texas' finest football team! After losing their star QB in the pilot episode, coach Eric Taylor (Kyle Chandler) is forced to rely upon a heavy supporting cast such as star running back Smash Williams (Gaius Charles) and nervy back up QB Matt Saracen (Zach Gilford). But its alcoholic Full Back Tim Riggins (Taylor Kitsch) whose redemptive theme provided one of the shows backbones that we are drawn to most. "Clear Eyes, Full Hearts... Can't Lose"

Team Houston (Rollerball)

In the midst of all the horrendous violence displayed in Norman Jewison's movie, Team Houston anchored by star player Jonathan E (James Caan) are one team that refuses to fail. Under pressure to retire from the league, Jonathan stands firm against the corporate executives and continues playing. His team in show of solidarity stays with him, despite a number of tricks being played and rules being bent- sometimes with tragic results!

The Runaway: Review of Gone Girl

Gone Girl

Director: David Fincher

By Alex Watson

Gillian Flynn's novel Gone Girl was the subject of mass critical acclaim upon its release back in 2012. Its dark investigative theme of a man involved in a missing person case involving his wife became the perfect page turner. So who better to bring this the big screen than David Fincher? In recent years he has proven himself the master of black and bleak suspense, but will he be able to bring a beloved book to life?

Nick Dunne (Ben Affleck) is a former writer turned bar owner who used to enjoy a prosperous existence in New York his wife Amy (Rosamund Pike). But the recession forced them to return to his home town of Carthage, Missouri. On the day of their fifth anniversary, Amy appears to have gone missing! But soon Nick finds himself at the centre of a massive media sensation and murder investigation as cracks in his story and their relationship begin to reveal themselves.

Gone Girl proves to be a fine adaptation of Flynn's novel and its shadowy story fits Fincher's direction like a glove. Aided by a stunning yet ghostly soundtrack by Trent Reznor and Atticus Ross, he succeeds in grabbing the novel's raw feel. His direction is less ostentatious than before but his images are by no means less grabbing. The movie opens on a shot of Amy's head while Nick in voice over ponders the questions “What are you thinking?” “How are you feeling?” yet more importantly  “What have we done to each other?”But his wife is no easy book to read and this will be come the movie's recurring theme.

The first act like the novel, alternates between the past and the present and it is here that we get a glimpse into the life that was once was. Nick and Amy are the original cute couple and their early scenes together including a kiss during a sugar storm in a bakery have a bright glow to them. As his wife observes "We're so cute I could punch us in the face." but soon the dream becomes a fractured nightmare when Nick in a desperate state of mind returns them to Missouri and this paves the way for an awkward and increasing tense future! Nick's life soon becomes a living hell as he finds himself scrutinized by local detectives Rhonda Boney (Kim Dickens) and her partner Jim Gilpin (Patrick Fugit), even his fiercely loyal sister Margo (a superb Carrie Coon) begin to doubt his innocent explanations!

Cleverly Fincher makes an observation of the media influence that often surrounds these events as Nick soon find his past, family and suspicious bumped up life insurance paperwork are aired out for the world to see! Talk shows are screaming bloody murder and the evidence against keeps increasingly mounting. But the film benefits from a smart change of pace midway through as a shocking revelation comes forward. Those who have read the novel will be familiar with this, but the shocks do not stop there as more lies and in some cases, extreme violence (a Fincher staple) come forward. Amy is a wife that you would instantly want to marry, but years down the track you may just realize that beneath the facade is perhaps the most troubling nemesis you could ever wish to face!

For all it's merits, Gone Girl trips up in the final act and slowly the air gets let out of this bursting at the seams story. A subplot involving Amy's obsessed ex-lover Desi (Neil Patrick Harris) doesn't quite ring true and the aftertaste to this whole thing feels flat. But you can't help escaping the feeling that in some ways this was inevitable because this is one love that is truly at war with itself and with Amy you can't go in guns blazing because she may be better equipped! This mistake aside, Fincher has still made a great version of this novel and few other directors could possibly have captured the dark side of love better than this man!

Ben Affleck makes for perfect casting as Nick Dunne, with the world continually question his recent casting as Batman, Affleck shows just what he can do in the right hands. Smartly, Affleck doesn't play Nick as an outright victim, just as a man pushed into the worst place on earth with nowhere to dig himself out! But Rosamund Pike is the one who steals the acting honours with an icy yet versatile performance as Amy. In possibly her biggest role to date, Pike makes for both a great femme fatale and the charming girl next door rolled into one. She brings to life Amy's complex and dangerous persona to great effect and makes you truly fear what may come.

Gone Girl is a movie that is guaranteed to make you think twice about the people that you love and will no doubt leaving dissecting events from the past. David Fincher is a man who has now officially earned his place among elite directors, just make sure you keep hiring Trent and Atticus because together great moments are made!