Directed by David Fincher
Written by James Vanderbilt

You're not overburdened by milieu the way you sometimes are when it thickened into an almost supernatural Other in Fincher's movies. His '70s San Francisco is pure backdrop : bland, anonymous even. It's Pakula's Washington from All The President's Men - - - those placid everyday surfaces swimming with society's night-thoughts like black filaments of dread. Dread, of course, has always been the other milk of Fincher's aesthetic. No less here , his first period piece - - - but without his usual cock and preen and showboat. It's all suggestive, evoking instead the passive brutality of Imamura's Vengeance Is Mine and leaving a freaky seepage you wish horror movies would leave you with more often. Fincher's always been adept at riffs. Here, his riffs gain sustain and - - -in a suspect's fiendish savoir faire in turning an interrogation around alone - - - deepen. Less about the minutiae of a manhunt than about the minutiae of obsession, a police procedural about the dismantling of procedure , that splendid chaos when method is subverted and the hunters - - - puzzle otaku Jake Gylenhall, maverick reporter Robert Downey (predictably brilliant), world-wearied cops Mark Ruffalo and Anthony Edwards- - -get captured by the game, sustaining damaged aftermaths that beef up the Zodiac's bodycount much as the ones on the morgue slab.
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Noel Vera said...

Good stuff man, especially the connection with Imamura. Think this is fincher's best? I think it's his first decent film.

dodo dayao said...

Thanks. Definitely Fincher's best, though surprisingly uncharacteristic of what has become his "voice",if you will. I do get your point about dashed expectations when it comes to Fincher (from your Zodiac review) but I generally like his work
- - -pass on Panic Room, though - - - messy as they can sometimes be.