Category Archives: Books

“There Will Be Blood” Movie Review

So recently, actor Daniel Day-Lewis announced that he was done with the film industry and will spend the rest of his life in private with his family. I absolutely respect this decision of his, but please don’t actually give up acting. You’re amazing at it. This epic historical drama was released during the height of award season in 2007, garnering more critical and commercial success than most independent films. Paul Thomas Anderson’s modern classic also earned 8 Academy Award nominations and is considered by many critics film scholars to be one of the best films from the 2000’s. Based on the novel Oil! by Upton Sinclair, we follow Daniel Plainview, a man in the San Fernando Valley who begins exploiting the rich amount of oil beneath the surface of the land. As the R-rated narrative moves from the late 19th into the early 20th century, his lust for more of this resource grows and grows, even when some meager competition gets in the way. But he won’t let them compromise anything for him. Many of Anderson’s trademark filmmaking styles are present here, as well as some differentiations. He directs the drama beautifully and confidently, as most of the cast seems to be made up of actors or actresses who know what they’re doing. And as good as Boogie Nights and Magnolia were, I would say that not only is this his most accessible film to date, but also his best. And this is coming from someone who enjoyed both Magnolia and Boogie Nights immensely. At the forefront of everything in this film is Daniel Day-Lewis’ Oscar-winning performance, which may just be one of the best ever put to celluloid. Masterful and wholesome in every sense, his character is an interesting one. Plainview is someone you should normally hate but can’t help understand and want to see him succeed in his endeavors. When remarking on his ruthlessness and cunning intellect, he remarks to a comrade, “I see the worst in people. I don’t need to look past seeing them to get all I need.” It’s no surprise that P.T. Anderson had written the part specifically with him in mind. In a duel role, the underrated but versatile Paul Dano plays two brothers both seeking a profit off the main protagonist’s petroleum ventures. One’s a carful-minded pragmatist wishing to benefit just for the sake of it, another is a devout pastor desperate to keep preaching his beliefs by acquiring the funds necessary to do so. Even as far as religious fanatics go, this guy was borderline unlikable. Note: The fact that Eli was this awful possibly made Daniel Plainview even more of a likable character than he had any right to be. But there are some that believe that without Day-Lewis’ phenomenal performance, the rest of the movie isn’t that good. I respectfully disagree, as there is enough brilliance behind the camera to match what is happening onscreen. Very few movies of the 21st century have attained the amount of technical mastery that Paul Thomas Anderson assembles here. One of the most notable attributes of There Will Be Blood is that of the cinematography by Robert Elswitt, which also nabbed an Academy Award. Many intimate conversations are characterized by focused close-up shots of the character most pivotal in that scenario. Even when someone else is talking, the camera refuses to cut or pan away from the primary subject, allowing us to get a better sense of closeness to these individuals. These harsh close-ups are contrasted by anamorphic wide shots of the gorgeous and vast frontier waiting to be dried up of oil. One of the most memorable sequences occurs near the end of the first act when Plainview discovers a whole ocean worth of oil beneath one of his large mines. As it continues to erupt from the late afternoon into the dark evening, a fire is lit near the top of it all. You see him as well as all of his employees drenched in black oil and soot as well as a beautiful coloring of orange firelight. Meanwhile, former Radiohead lead guitarist Jonny Greenwood composes the musical score for this film, making this the first in five movies he has collaborated with Paul Thomas Anderson. Although it uses a lot of preexisting material, there is still quite a bit of new stuff to gouge down on. Often it’s just little bits of ambient strings that heighten the tension of a scene or when various percussion instruments are banged together in a cacophonic manner that is as raucous as it is poetic. In the vein of all his other work, though, There Will Be Blood is much more than just an excuse for Anderson to direct someone in a way that might earn them an Oscar. Much like a strip of barren land in Southern California, there is a lot of precious stuff to appreciate and dig for underneath the surface. In this case, we see the ideas of American capitalism and natural greed deconstructed to their very cores. During this period, some Americans had idolized Titans in this industry such as John D. Rockefeller. But this film does its very best to illustrate that these “heroes” at the turn of the century were anything but considerate, let alone worth idolizing. With Daniel Plainview’s ambitions and lust for wealth growing ever so much, he becomes more disconnected from everyone around him, thus making him more ruthless and dangerous. Similarly, Eli is so dead-set on acquiring this oil that he uses any justification, including and especially religion, to get it. There Will Be Blood is a believable meditation on greed with one stunning performance at the center of it all. It’s a damn shame that Daniel Day-Lewis has retired from acting because there really is no other thespian like him in the industry. May he enjoy his days in peace.

Image result for there will be blood poster

“The Prestige” Movie Review

Thought it would make sense to review some of Christopher Nolan’s best films in preparation for Dunkirk this July. I’ve already done Interstellar, though, I’m tempted to do an update. You can expect the Dark Knight Trilogy to show up soon, as well as Inception, but let’s begin with one of his more overlooked projects. This magic-based mystery thriller was able to triple its $40 million budget after its premiere October of 2006. Released just after Batman Begins, it also marks a rare time when Nolan adapted a pre-existing material, as it was based on the novel by Christopher Priest. Set in 1890’s London, the incredibly complex story follows two magicians, Robert Angier and Alfred Borden, who compete with each other to create the greatest stage illusion imaginable. Their game of one-upmanship turns into a series of tragedies. Of course, this being a film by Christopher Nolan, the PG-13 rated plot is much more involved and layered than that, and some really mind-bending stuff happens. Hugh Jackman is the real star of this film as Robert Angier, with all the charisma and showmanship that most real-life magicians lack. The things that happen to him are very sad and damaging. And as he goes down the path of competition, he begins to lose sight of what got him on that path to start. Continuing their relationship with the director, Michael Caine and Christian Bale are fabulous in their roles. Unlike many of his other films, Bale is actually allowed to retain his British accent, which added more heft to his emotional punch. Caine, meanwhile, plays a disconnected mentor who essentially works as a mediator between the two magicians. His wisdom is reminiscent of Alfred Pennyworth from the Dark Knight Trilogy, as he seems to be the one person who wants both of these men to settle their feud. The strong supporting cast includes Scarlett Johannson, Piper Perabo, Rebecca Hall, Ricky Jay, a rare live-action stint from Andy Serkis, and the late musician David Bowie. Bowie is particularly enigmatic as a man with many secrets on how to make a show even more dazzling than it already is. But he doesn’t use magic, he uses science. To go any further into any of these actors’ characters would spoil the plot. One of the things Nolan is known for is how all of his films are not what they initially appear to be. For example, his first directorial outing Following looked like a cheap student film, (And it kind of was) but turned out to be a focused and engaging mystery thriller. With The Prestige, he crafts a compelling narrative out of a subject that shouldn’t be that interesting; stage magicians. Through his trademark storytelling techniques, the story doesn’t initially progress in chronological order and jumps around in time. This makes the film even more intriguing and keeps the audience guessing from start to finish. Another trademark of Nolan’s is how practical and technically brilliant his films are. The production and costume designs are all top-notch and help it feel like a gritty and lived-in 1890’s London. When Borden or Angiers are on-stage, it feels as if we are actually watching a magic show unfold before our eyes. And the visuals are nice as well. In one scene, Angiers is standing in the middle of a snowy ridge when all of a sudden, these fluorescent lights come out. It added more beauty, atmosphere, and mystique to the 130 minute-long picture, topped by Wally Pfister’s surreal camera work. As pretty much the last film before Nolan’s long-term collaboration with Hans Zimmer, the musical score in The Prestige is provided by David Julyan. It is often consisting of eery synthesizers building up in a crescendo, punctuated by a shocking set of strings in revealing moments. And there are many. Holy mother of God, there are revealing moments. Like a traditional magic show, the film is broken up into three intertwined acts. The first two are impressive feats of visual flair and emotionally engaging performances. But in the final act, a jaw-dropping plot twist is thrown in to pull the rug from underneath the audience in a way that is both shocking and brilliantly believable. Were you watching closely? I was, and it worked. Without giving away anything, the twist also brought to light the philosophical themes hidden just beneath the crust. Because these two characters are neck-and-neck, they often give in to their inner ambitions and obsession. That obession to become the greatest at their profession leads to many bad outcomes and ultimately makes them less humane. To put it in the words of David Bowie’s character, “You’re familiar with the phrase ‘man’s reach exceeds his grasp?’ It’s a lie; man’s grasp exceeds his nerve.” If you love the type of movies that make you think about the story and maybe even tempt you to watch it again to make sure you didn’t miss anything, you need not look any further than The Prestige. It blends seamless production and technical merits and fantastic performance with breathtaking precision. This is a very underrated piece of humanistic filmmaking that deserves all the recognition as Christopher Nolan’s other endeavors have endured.

Image result for the prestige

“The Lost City of Z” Movie Review

Sorry for the lateness. I just had to take a few showers after that war scene in the middle. Holy crap, that shook me. This biographical adventure drama from Amazon Studios made a splash at the New York Film Festival in 2016. After a run at a few more festivals, the film opened in the United States on April 17th, 2017, earning back rave reviews but less than half it’s $30 million. Written and directed by James Gray, and based on the nonfiction novel by David Grann, the PG-13 story follows the account of real-life explorer and British soldier Percy Fawcett, played by Charlie Hunnam. After getting sent to Bolivia in 1901, he makes many more expeditions later to try and find an ancient lost city in the middle of the Amazon simply called Z. Essentially, this is a story about obsession and the consequences impending from it. The main protagonist is so determined to find this piece of civilization that may not even exist that he will sacrifice anything, including his marriage and relationship with his children, to prove its existence. But how do you show your fellow scholars that the indigenous people of the New World are capable of building foundations and structures infinitely more complex than those in England? What will you do if they ridicule your ideas and call your thesis a fraud? These are questions that James Gray poses in The Lost City of Z, but they’re not always answered. Rather, they show you these concepts and then leave you to discuss them on your way out of the theater. That kind of filmmaking is rare these days, as many directors are eager to share their interpretations of what it all means. Charlie Hunnam is masterful as Percy Fawcett. Beating out three other bigger names that dropped, he former Sons of Anarchy star shows a remarkable range with the complex protagonist, shifting from being an apathetic opportunist to a genuine man who cares about his crew and family. It’s not an easy transition, let alone to occur consistently throughout the picture, but Hunnam does it very nicely. In fact, I would dare submit his performance under consideration for Best Actor next January. By his side for a majority of the film are Sienna Miller as his independent wife and Robert Pattinson as a drunkard-turned loyal expedition partner, who are both great and relevant players. Their dichotomous relationship with Fawcett provided an interesting contrast to his split love: the jungle or his family. While several European character actors such as Angus Macfayden, Franco Nero, John Sackville, and Star Wars‘ Ian McDiarmid in key roles, Tom Holland felt some conflicted. Don’t get me wrong, he’s a great actor and gives a good performance in this film. But as far as his character goes, being Fawcett’s oldest son, his relationship often felt contradictory and somewhat superficial. On a technical level, The Lost City of Z is visually stunning and gorgeous. The atmospheric shots of the jungle by Darius Khondji are contrasted by the stuffy and condensed space of the English socialite buildings. The fact that most everything was captured on film on location in South America is impressive enough for this epic. Speaking of film, one of the formats available for showing is in 35 mm print. I urge you, if possible, to see it in this format, as it adds to the immersion and overall feel of adventure. And boy, doesn’t it ever truly feel like one? The running time of 2 hours and 20 minutes notwithstanding, it’s clear that Gray takes some inspiration from epics of Hollywood’s Golden Age. Specifically, it looks like he took cues from the dramas of filmmaker David Lean and epics of his such as the amazing Lawrence of Arabia or earlier films like The Bridge on the River Kwai. From the massive amounts of extras for big set pieces to contemplative verbal moments, everything about this film feels old-fashioned, and that’s not a bad thing. James Gray has been dealing with subject matter he’s not familiar with before, so why not again? Despite all of these homages, there’s still something about The Lost City of Z that feels modern. One of those factors comes in the soundtrack, composed by Christopher Spelman. Unlike classic films, this one doesn’t feature a sweeping orchestral symphony in large scenes. Rather, it’s mostly based on a feeling of ambiance and nature. It felt very natural to the environment presented and added even more to the atmosphere of the Amazon. In fact, the sound design is so immersive, you will actually feel as if you are with Percy Fawcett and his expedition team in the jungle. Although the less patient and those wanting an answer may not find satisfaction, The Lost City of Z is still a sprawling piece of contemporary epic filmmaking. I think James Gray has crafted something very special here and Charlie Hunnam gives easily his best performance to date.

Image result for the lost city of z movie poster

“One Flew Over the Cuckoo’s Nest” Movie Review

And this is how to make a movie that is truly deserving of Best Picture. This provocative drama from director Milos Forman and producer Michael Douglas was released by United Artists on November 9th, 1975, earning back over $100 million on a small budget of $4.4 million total. Today, it is rated as the 16th greatest movie of all time on IMDb and listed as one of the late Roger Ebert’s favorite films. Based on the controversial novel by Ken Kesey- who apparently hated the finished product –One Flew Over the Cuckoo’s Nest recounts the story of Randle McMurphy, an ex-con who transfers to a mental hospital in order to avoid more jail time. Once there, he falls into a trance when he’s introduced to a system where patients are heavily medicated, physically abused, and treated with almost no empathy. He begins to encourage the suppressed patients to fight back against Nurse Ratched’s tyrannical, bullying rule. Recently, I read the book this film was based on as part of a course examining the most challenged novels in American literature. And yes, there are many moments where artistic license is taken with the source material by screenwriters Lawrence Hauben and Bo Goldman, particularly of the point-of-view with the story. But I’m not here to nitpick the differences in the adaptation, I’m here to dissect this simply as a movie on its own. And on its own, this has to be one of the best pictures released in the 1970’s. In the performance that launched his storied career, Jack Nicholson is absolutely electrifying as Randle McMurphy. This basically set the groundwork for all of his crazy roles to follow, from the Joker to Frank Costello. But none were as memorable or arguably as likable as his work in this film. Slightly older than him, Louise Fletcher is completely heartless and uncaring as Nurse Ratched. Male or female, she has to be one of the most despicable characters in film history. Her rule emulates that of any infamous world dictator, manipulating every patient and staff member with careful words. The film also features early roles from Danny DeVito, Christopher Lloyd, and an Oscar-nominated performance from Brad Dourif as a stuttering man-child. Will Sampson as Chief Bromden, the narrator of the original book, is also worth noting. His captivating portrayal of a deaf-mute is a unique depiction of modern Native Americans and remains one of the most memorable fictional ones on the celluloid. Although sparsely present, what there is of Jack Nitzche’s score is beautiful. The film opens and ends on the same track with steady percussion and a high voice, punctuated by goosebump-inducing strings. It’s the kind of soundtrack that gives one hope for their lives and makes you want to live life to the fullest; the primary theme of One Flew Over the Cuckoo’s Nest. The camera work by Haskell Wexler and Bill Butler is rather dry. Often the action will be shown in short cuts of editing. Other times it will keep on one shot to emulate the feeling that we truly are inside this mental hospital. Such a moment occurs late in the picture when after a large celebration, the camera focuses in on Randle. He’s not partying, not monologuing about his past. Just a static shot of him drinking a beer while sitting down, silently smiling at his accomplishments. It is this silent simplicity that helps give this film its advantage and likability. But that doesn’t mean that One Flew Over the Cuckoo’s Nest is always fun and lighthearted. There are some moments that are so powerful that you can hardly finish. The actors and extras did a supreme job at making the environment as realistic as possible. But the portrayal of mental illness, and of the authority that tries to exploit it, is so raw and unpretentious that it sometimes borders on hard-to-watch. From challenged patients who refuse to take their medication to electroshock therapy for those who resist, the movie pulls almost no punches. Which is probably why it went on to win the Big Five Oscars. These were Academy Awards for Best Actor, Actress, Screenplay, Director, and Picture. One of the rarest feats in the Academy’s history, to win all of these categories in one night is a truly astonishing achievement. And this is a film that really did earn all of it. It also has an ending that can make you feel teary-eyed from both sadness and joy. All I can say is that you will have the feel the feeling of you were graduating. With unforgettable characters, realistic dialogue, fantastic performances and a great sense of dark optimism, One Flew Over the Cuckoo’s Nest is an uncompromising and captivating look at standing up to your oppressors. It may not quite be perfect as a whole, but the smaller moments are the ones that truly make it what it is. It is hard to watch sometimes and to rewatch but it’s absolutely worth it to get a better understanding of mental illness and the will to survive in the face of adversity.

Image result for one flew over the cuckoo's nest

“Sophie’s Choice” Movie Review

And we all thought that there was no way Julie Andrews in Mary Poppins could be matched in performance. Released in the fall of 1982, this drama received both critical and commercial success just in time for awards season. After leaving his small-town home in the South, aspiring novelist Stingo moves into a shared boarding house in Brooklyn in 1947. Soon after settling in, he meets his upstairs neighbors, Polish immigrant Sophie Zawistowski and pharmaceutical worker Nathan Landau. While they immediately become the best of friends, Sophie and Stingo must brave Nathan’s emotionally tempestuous behavior and violent mood swings. It’s only a matter of time before Sophie trusts Stingo enough to share her harrowing experiences in a Nazi concentration camp during World War II. As the synopsis suggests, Stingo acts as our primary point of view for much of the runtime. A young man in his 20’s, his inexperience in the large city of New York, and his desire to understand human love allows the audience to relate to him in his struggles. When he discovers new locations across the city, it’s as if we’re walking in his shoes, seeing what he sees, learning what he learns. The city is a massively scary place for someone of small town background like Stingo, almost as if it wants to suck you in and never let you leave. The desired effect worked well for the most part. That being said, it felt as though the scope was very restricted. Most of the turbulent scenes are told inside of the characters’ boarding house, only one floor apart from each other. In that, it sometimes felt more like a stage play on Broadway, with nondescript locations and a plot that mostly develops from various characters exchanging bits of dialogue. One notable exception to this occurs early on in the picture when the trio goes to Coney Island for a day. While they move through a variety of different rides and attractions, the whole sequence plays like a silent film with color without any verbal or background noise. We only see these three people have the best day of their life, backed by Marvin Hamlisch’s beautiful and subtle score. This is undeniably creative, but it sometimes felt unappealing. However, Alan Pakula makes up for this in the latter half of Sophie’s Choice, when we start getting glimpses and flashbacks of Sophie’s life in Auschwitz. Many colors are desaturated or muted, similar in style to Steven Spielberg’s later Holocaust film Schindler’s List. It is clear that as the situation becomes bleaker, the colors fade even more. To add further authenticity, a rather large portion of the film is spoken in either Polish or German, a choice that throws me into the admittedly conventional drama. This is contrasted by scenes of Sophie explaining her every action in the present day to Stingo. These cutaways to the modern setting are filmed in a first-person perspective, giving the impression that we are listening to her talk to us in person. This allows the audience to better relate to her and her story; especially in the final act when everything comes to a gut-wrenching head. All three leads are terrific in their respective roles. Peter MacNicol, in his second movie ever, does convincing work as Stingo. Right at home with his Texan accent, his naive demeanor and great ambitions make him a man of great compassion. While he may be better known for comedies such as A Fish Called Wanda, Kevin Kline is fantastic as Nathan Landau. An unpredictable paranoid schizophrenic, some scenes were just uncomfortable to watch. But he’s still an indelible figure to look up to and find some warmth in, like when he first met Sophie and they bonded over reading Emily Dickinson poems. Or later, when he declares in a touching monolog that Stingo is destined to become one of the great American writers, alongside Whitman and Wolfe. But the true standout, as you may already know, is Meryl Streep, who completely deserved her Academy Award for Best Actress. It really can’t be overstated how incredible she is. Aside from her near-perfect Polish accent, she manages to hit almost every single emotion imaginable. She bounces between joy, anger, confusion, and unspeakable sadness with ease. If anyone else was cast as the titular character, this performance (as well as the movie) would probably be forgettable. Aside from being an experiment in acting and emotions, there is a point and meaningful purpose in the story of Sophie’s Choice. Through the eyes of Stingo, we are subject to the capacity one man (or woman) has for both love and suffering. When Sophie first arrives at the concentration camp, she is forced by an SS Officer to choose: will her son or her daughter go to the gas chambers? This is nothing easy for anyone. While she has endured so much pain, she still finds the ability to love other people. No matter how many times Nathan hits her, they keep reconciling and rekindling their relationship. There are brief moments of humor, like Sophie incorrectly mistaking Stingo’s seersuckers for “cocksuckers.” But aside from small moments like that, this film is not uplifting, or even very enjoyable to watch. By the time the credits start to roll, you will be left either speechless in your seat or in ugly tears of sadness. Maybe even both. If you aren’t brought to either one of those states, then it’s questionable if you’re truly human. Although it may be too upsetting for some and a little too conventional for its own good, Sophie’s Choice is a fantastically written and beautifully poignant drama about the distinction between love and suffering. It features one of the greatest performances ever put to film and an ending that will haunt viewers for many weeks after.

Image result for sophie's choice

“Hunt for the Wilderpeople” Movie Review

If this movie proves anything in life, it’s this: Peter Jackson’s Lord of the Rings trilogy was not the only awesome film to come out of New Zealand. This adventure comedy-drama landed a limited release in North America on June 24th, 2016, following a lengthy festival run after its premiere at Sundance. It has since gone on to become the highest-grossing native film in New Zealand, with a box office take of about $23 million. Based in part on Barry Crump’s book Wild Pork and Watercress, the story is set against the extensive wild bush of New Zealand and follows a juvenile delinquent named Ricky Baker, who has recently been adopted by a farmer couple. After a tragic happening, Ricky resolves to run away from his home into the bush, only to be found by his foster uncle Hector. When a nationwide manhunt ensues, they reluctantly have to work together to survive the wilderness. Hunt for the Wilderpeople is brought to us by writer-director Taika Waititi, who also gave us hidden gems such as the moving drama Boy and the hilarious mockumentary What We Do in the Shadows. He will also be moving to the Hollywood blockbuster environment this November with Thor: Ragnarok so it would be wise to keep tabs on this one. His trademark quirkiness for characters and dialogue is ever-present in this latest effort, which may be his best work yet. His script is injected with immense heart and poignancy, contrasted by scenarios so absurd that it’s almost impossible to not laugh out loud. During one particular scene, the situation was mirrored to and alludes to The Fellowship of the Ring, something even the characters address. As a fan of the series, this made me chuckle. As for the cast, veteran Irish character actor Sam Neill gives us a performance unto itself completely different from his stint as a paleontologist in Jurassic Park. He’s gruff and occasionally closed off but shows a tremendous capability for compassion and care as a father figure. By his side is a breakout performance from the newcomer, native New Zealander Julian Dennison as Ricky. Even at the age of 14, this kid does a fantastic job with his lovable, yet deeply troubled character. You get the idea that Ricky has had a rough life up to this point, and it also becomes clear at a point that he wouldn’t last 2 seconds out in the wilderness without Hector. These two bounce off of each other with ease, as their relationship is a very believable one. Hector has to show Ricky various tactics for survival, such as building fires and hunting for food with a rifle. But it’s also their less stressful and quieter situations that make for some of the most human moments. Whether it’s when they’re both sitting by the campfire sharing their own painful pasts, or when they’re quietly sitting in the woods looking at a thought-to-be-extinct bird, it’s actually quite impressive how well these scenes were put together. However, we can’t talk about any movie set in the wilderness without discussing the look and aesthetic of it all. In a sense, Hunt for the Wilderpeople has the feel of a modern sitcom because it was almost entirely shot on a single camera. Even with that, the locations in the film look absolutely beautiful. There are so many aerial view shots of the lush green landscape that are immediately edited into quick cuts across the dense forest. This gives the film a feeling that puts it on level ground with the characters. Of all the places in the world that I would like to visit before I die, New Zealand is at the top of that list. This is the final proof of that goal. Commentary should also be given to the music. There is a very minimalist score from Lukasz Buda, Samuel Scott, and Conrad Wedde, mostly just background guitars. The soundtrack itself is comprised mostly of folk songs, all of which perfectly match the tone of the story. And now for the big negative of the movie: Regret. I regret not seeing this film in theaters in 2016 because it would have easily appeared somewhere on my Top 10 List by the end of the year. So please don’t let its seemingly foreign nature dissuade you; Hunt for the Wilderpeople is an irresistibly quirky and touching dramedy about the sacred bond between father and son. (Or in this case, uncle and nephew) A poignant yet hilarious showcase for great, lesser-known actors, it’s appropriately restrained in its direction. And for that, Hunt of the Wilder people absolutely deserves more recognition from American audiences.

Image result for hunt for the wilderpeople

“Gone Girl” Book Review

Okay here are the facts: A few days ago, I would have told you that it is impossible for a story about a guy who gets framed for his wife’s disappearance to surprise me. However, after reading Gone Girl, I would beg to differ, my friends. This sexy thriller novel was published in June of 2012, quickly becoming a New York Times Bestseller. Written by modern-day feminist Gillian Flynn, the book also received high critical acclaim, and is considered one of the best books written in this decade. We follow Nick and Amy Dunne, a middle-class married couple in the late 2000’s. She is the subject of a series of children’s stories called “Amazing Amy,” and wrote personality quizzes for Entertainment Weekly in New York City. He is a movie-loving journalist who remains close to his twin sister. On the morning of their 5th anniversary, Amy suddenly goes missing, and in the days following her disappearance, Nick is put under police and media scrutiny. And as evidence starts being uncovered, speculation starts arising that maybe he is involved in her disappearance and potential murder. However, that’s merely what the ads have told you; in reality, there’s a lot more going on in the story. I’m going to try to avoid spoilers in this review just because it’s so hard to talk about Gone Girl without getting in-depth. One of the most fascinating aspects of this story is that it makes the reader feel like a bystander watching everything unfold on the news. You are not smarter than the book; not by a long shot. It keeps you guessing until the very end and boy what a finale that was. Ultimately, it jumps between two different time periods. The first one we see is told from Nick’s first-person perspective in the present day, as the investigation is going on. The other follows Amy’s diary entries from the moment she met Nick up to the point of her disappearance. However, it becomes clear at a point that neither of these two narrators are entirely forthright with the truth of what happened. It also deals with interesting and relevant themes dealing with modern American society. The hardships of a long-term relationship, the scrutiny of the media, and the effects of economic incompetence wrap this story in a nice bow. It’s almost as if Gillian Flynn saw how the Recession was affecting the moderate American populace and decided to have some commentary on it. In that, Gone Girl is written as more of a psychological character study than it is a typical mystery thriller. The characters are all frighteningly realistic and believable as human beings. The interactions between the detectives and Nick Dunne in the present day are really good. It proved that although Nick is really socially awkward and not party-friendly, he’s still relatable and I kept hoping that he was actually innocent of the crime. Meanwhile, his wife is easily the most intriguing and scene-stealing character in the book. You keep wondering what happened to her and want to see her relationship stay steady. Was she kidnapped? Was she murdered and hidden? Did she ever blow up against Nick? It’s these types of questions that make Gone Girl impossible to put down. Especially considering how long it is. I lost many hours of sleep at night reading this book. I felt like I was going to miss something important, so I chugged through over 400-odd pages to get to the end. And no, we’re not going to touch on the ending of the book. Do you see how hard it is for me to talk about this novel without spoiling anything major? I will say that Gone Girl transitioned perfectly into its movie adaptation, directed by David Fincher. Rosamund Pike was perfect in the role as Amy, conveying the same aurora of mystery and sexiness. And yes, this is a very dark book to read. I’m not saying it’s dark because of certain violence that happens at points. The story becomes more dreary and disturbing as it goes on and the sex scenes are described almost as graphically as Fifty Shades of Grey. To be clear, that is not a comparison; Gone Girl is a much better book than Fifty Shades. The dialogue was also really well-written throughout the novel. The characters often engage in small talk and bicker bach and forth. The story, as a whole, is funny in a really dark way sometimes. There was one instance where Nick’s sister was describing to him what to get Amy for their anniversary. I actually died laughing when I read it. Despite its mature content, Gone Girl is a sexy thriller with a dark, unpredictable story. After it came out. Many female writers were wanting to create the “next Gone Girl,” like The Girl on the Train. But they miss the point: Gone Girl will hold up for quite a long time, so trying to make the “next” of it is rather arbitrary. Don’t try to mess with that system. Instead, go read Gone Girl if you have the courage to withstand its dark characters and themes.

Image result for gone girl