Review - Gone Girl

“You don't know what you've got 'til it's...” the tagline for Gone Girl ominously forebodes. That common phrase takes on twisted new meaning in this hotly-awaited thriller from David Fincher, which opens with the voiceover of a man confessing how he wishes he could know what his wife's thinking; pick her brain; see what's on her mind – all worded with a queasy skull-cracking metaphor designed to unsettle us right off the bat. He truly won't know what he's got until she's gone, and when he finds out, he'll wish he never asked.

Like the vanished woman to whom the title refers, Gone Girl has quite a lot – too much, in fact – on its mind. Based on the best-selling pulp novel by Gillian Flynn (who also adapted it for the screen), it's a movie that aspires to be many movies at once, but does not fully succeed at being any of them.

One Category at a Time: Cinematography

If you're no stranger to the blog you probably already know that Best Cinematography is always my favourite category at the Oscars. Not only because of my personal fascination with the craft, but because it always proves so devilishly tricky to predict. It's an area where the precursors tend to be deceptively offtrack, and ideologies on how the whole Academy votes shift from year to year. This year's slate (the only one I correctly predicted 5/5) houses five contenders which are equally plausible winners for completely different reasons. My rationales, accompanied by my favourite shot from each nominee, are outlined after the cut.

My Awards nominations: Cinematography

My nominees for Cinematography are:

Drive (Newton Thomas Sigel):

L.A. is sleekly conveyed through Sigel's luminous photography; a mesmerizing display of soft lighting and focus to offset the brutality of the content.

The Girl with the Dragon Tattoo (Jeff Cronenweth):

The film may be an empty exercise in style, but such style! The green-saturated coloration fits the murky story nicely. Some experimental shots work well.

Midnight in Paris (Darius Khondji, Johanne Debas):

The midnight sequences are beautifully shot with warm, textured lighting, before jolting us back into Gil's painful present with the hard, bright light of day.

The Tree of Life (Emmanuel Lubezki):

Be it the indelible vastness of an otherworldly shore, or the minute delicacy of a floating butterfly, Lubezki's compositions are lush and hypnotic.

We Need to Talk About Kevin (Seamus McGarvey):

McGarvey captures Eva's adhesive guilt through dozens of arresting (if not subtle) images symbolic of bloodstained hands with deep, cascading reds.

Just missed: The Artist, Bullhead, Hell and Back Again, Hugo, War Horse,
Miss Bala, Moneyball, Tinker Tailor Soldier Spy, Martha Marcy May Marlene

One Category at a Time: Best Cinematography

As soon as the Tree of Life trailer hit the Internet, Oscar pundits began proposing that this year's Best Cinematography award may be Emmanuel Lubezki's to lose. The shots featured in the trailer are indeed gorgeous - just the sort of thing they usually go for in this category. Lubezki should already have an Oscar for Children of Men. Can the four-time nominee finally collect his due? Or are we heading for a repeat of this past year's Best Cinematography disaster?

David Fincher's The Girl with the Dragon Tattoo remains a question mark in many categories. His last two films have been nominated for their cinematography, but they were Academy-friendly Best Picture contenders. If The Girl with the Dragon Tattoo can manage to impress AMPAS on the same level as The Curious Case of Benjamin Button or The Social Network, Jeff Cronenweth may see his second nomination in as many years.

Stephan Goldblatt will bring life to the South of the 1960s in The Help. He's been nominated before for shooting a similar time and place in The Prince of Tides, and hopefully will be able to bring the same magic to this project. But The Help doesn't strike me as a typical nominee in this field (although it's hard to judge without having seen any footage). It'll probably need serious Best Picture heat to make it in here.

I like to assume that the always extraordinary two-time winner Robert Richardson only just missed a nomination this past year for his awesome work on Shutter Island, but he was probably further down the list due to the film's unpopularity. Perhaps Martin Scorsese's Hugo Cabret will be more to the Academy's liking. It'll surely have lots of wonderful sets and costumes to show off. Being one of the top DPs in the business with seven nods to his name, Richardson must always be considered a contender.

Another two-time winner, Janusz Kaminski, has a strong bid this year courtesy of Steven Spielberg's War Horse. Both of Kaminski's Oscars came for shooting Spielberg war pictures (Schindler's List and Saving Private Ryan). Come to think of it, all of Spielberg's Oscars came for those two movies as well. I'd say that's a pretty successful collaboration, and good reason to predict Kaminski will pick up his fifth career nomination.

Predicted five:
The Girl with the Dragon Tattoo
The Help
Hugo Cabret
The Tree of Life
War Horse

Also consider: Coriolanus, Cowboys and Aliens, Harry Potter 7, Moneyball, Super 8, Water for Elephants.

Favourite shots from the Cinematography nominees

Some people have let me know how disappointed they were that I didn't make time in my analysis of Best Cinematography this year to highlight my favourite shots from each of the nominees as I did last year. I didn't really think anyone cared about it, but I've had requests, so I'll gladly oblige.

But first, I have to refer you to Kris Tapley's annual top ten list for the best moving images of the year; an absolute treat I look forward to reading and linking to every Oscar season.

Like last year, I'm limiting my list of shots to the five nominees for Best Cinematography, simply because I haven't the time to go sifting through all the year's movies again to find my favourites overall. Anyway, see them after the cut.

One Category at a Time: Cinematography

This is gonna be the most nerve-wracking category of the night for me. Usually, I try not to emotionally invest myself in anything related to Oscar... but I wanna see Roger Deakins win for once, dammit! The man has shot some of my all-time favourite movies, and some of the most memorable images I've ever seen committed to film. If I have to watch him lose for the eighth time I'm gonna stick my head in an oven... and pump that oven full of chlorine gas... and then launch it into the sun.

What's worse is I'm actually predicting him to win, so if he doesn't there's the added sting of having guessed the category wrong. It's quite possible I will be wrong as well. You could make a strong case for any of the nominees winning.

Well, okay, maybe not so much The Social Network. Not that I don't admire Jeff Cronenweth's fine work, but it just doesn't say ''Oscar winner'' to me. But the other four nominees are all plausible victors.

Black Swan has the NY and LA film critics prizes under its tutu, but what it really has going for it is the sheer maddening brilliance of Lebatique and Aronofsky's vision.

Inception has the Critics' Choice and ASC going for it, plus that exhilarated feeling it leaves audiences with as they walk out of the theatre. Wally Pfister had better win an Oscar someday.

The King's Speech has the Best Picture frontrunner factor in it favour, and a potential sweep that threatens to rob dozens of deserving craftspeople of their rightful Oscars. Not that Danny Cohen's framing isn't effective. It's just not the best of the year.

Finally, True Grit has the BAFTA in hand and is the most traditionally beautiful of the five; postcard-perfect vistas and gorgeous lighting (Deakins' specialty, don'tchya know), which may be all it needs to eke out a win. The fact that it's clearly a well liked movie helps.

Damn well better win: True Grit
Runner-up: The King's Speech

Should win: Black Swan
Should have been nominated: Shutter Island

ASC nominees!

The American Society of Cinematographers have chosen

Black Swan (Matthew Libatique)
Inception (Wally Pfister)
The King’s Speech (Danny Cohen)
The Social Network (Jeff Cronenweth)
True Grit (Roger Deakins)

Good for Cohen and Cronenweth, who did fine jobs on their respective films, but I still don`t think I'd count out Robert Richardson of the Oscar lineup just yet. 127 Hours may be in trouble here.