Reviews provided by RottenTomatoes
Gone Girl is a sick movie, but it's a lumbering, anti-imaginative kind of sick.
In good times and bad, in sickness and in health, Gone Girl is delicious suburban noir.
New York Post:
Glossy, empty and ultimately unsatisfying - if undeniably entertaining ...
New York Observer:
Preposterous, illogical, senselessly over-plotted and artificial as a ceramic artichoke ... one of the year's grossest disappointments.
Wall Street Journal:
[Pike is] a star presence here from her very first scene; it's even rewarding, given her expressive voice, to hear her reading from Amy's diary entries.
It's dark, it's creepy and it's very good - both on the page, and on the screen.
In a movie of subtle tones and wild swerves, Pike expertly mixes a cocktail of hot and cold blood. She is the Amazing Amy you could fall for, till death do you part.
Director David Fincher and stars Rosamund Pike and Ben Affleck are at the top of their game in this mesmerizing adaptation of Gillian Flynn's novel.
Gone Girl isn't a movie about marriage or relationships or men and women, but about the way people assume established, familiar archetypes to please, manipulate, and entrap one another.
The characters sound like people trying to sound like people in the movies and not quite pulling it off.
J. R. Jones,
Gillian Flynn's twist-laden mystery novel gets a somber, respectful screen treatment from David Fincher, which has the unfortunate effect of diminishing the book's diabolical fun and heightening its dull misanthropy.
It's everything the book was and more - more, certainly, in its sinister, brackish atmosphere dominated by mustard-yellow fluorescence, designed to make you squint, recoil and then lean in a little closer.
Once you release the movie from the demand that it be significant, there are a number of achievements.
It's sick fun that leaves a scar; popcorn entertainment that bites back. Dig in.
Anyone who loved Gone Girl the book will walk out of Gone Girl the movie with a sick grin on their face.
Gone Girl is a rare bird: a tricky, weird mystery that benefits from people knowing its twist from the outset.
Los Angeles Times:
"Gone Girl" shows the remarkable things that can happen when filmmaker and material are this well matched.
San Jose Mercury News:
Pike is a revelation. The actress ... demonstrates versatility with compelling eyes that can instantly switch from innocent to detached. Oscar consideration is certainly a possibility for her.
Even knowing what's ahead doesn't prepare you for the movie's tone, which is funny yet curdled and cynical and bleak.
The New Republic:
Gone Girl promises to be an unnerving portrait of marriage as ruin, but then it opts for madness and implausibility.
Gillian Flynn's playful novel is now David Fincher's chilling movie. Still packed with twists and turns, but the overall effect is unsettling.
Why doesn't the movie claw us as "The Social Network" did? Who could have predicted that a film about murder, betrayal, and deception would be less exciting than a film about a Web site?
Believe me, you should see the movie, and then you can talk about it all night. And you probably will.
In the film's final stages [Fincher] seems to be relying entirely on craft - but, boy, is it effective craft.
If the production is slightly too atmospheric, the performances are bracingly specific, led by Affleck, whose task is complex.
New York Daily News:
A break-all-the-windows plot-twister that keeps every jolt and (most of) the cultural jabs from Gillian Flynn's blockbuster novel.
New York Times:
As sometimes happens in Mr. Fincher's work, dread descends like winter shadows, darkening the movie's tone and visuals until it's snuffed out all the light, air and nuance.
David Fincher's shockingly good film version of Gone Girl is the date-night movie of the decade for couples who dream of destroying one another. Expect a stampede at the box office.
It's a work of chilly wit and bleak metaphor, an artifice that invites the kind of analytical response where we pull on our chins and discuss how other people, more naive than we, will receive it.
San Francisco Chronicle:
Director David Fincher lands a tone for Gone Girl that's broad and precise enough to encourage a series of witty performances within the thriller framework.
A deliciously manipulative mystery that toys with the viewer like a femme fatale with her prey.
Minneapolis Star Tribune:
Flynn's great accomplishment, in her book and here, is an unstinting dedication to plot mechanics that jar our balance.
Fincher is as Fincher does. And what Fincher does better than almost anyone is create moody, meticulously crafted thrillers that straddle the divide between genre and art.
David Fincher's Gone Girl takes a big beach read about a troubled marriage and turns it into a suspenseful screen indictment of modern times.
"Gone Girl" will earn plenty of loud shouts of applause, awed sounds of surprise, and shocked laughter, but what makes it worthy of them is all the hushed, uneasy conversations it's guaranteed to inspire in the long, unsettled silence to come after.
Gone Girl is to marriage what Fatal Attraction was to infidelity.
The movie, while entertaining and extremely well crafted, is too self-conscious about its depravity to be either truly disturbing or disturbingly funny. Ticking along with metronome-like efficiency, it's more slick than sick.
New York Magazine/Vulture:
The movie is phenomenally gripping-although it does leave you queasy, uncertain what to take away on the subject of men, women, marriage, and the possibility of intimacy from the example of such prodigiously messed-up people.
"Gone Girl" may get the job done as a dutiful, deliberately paced procedural, but it never quite makes the splash it could have as a thoughtful, timely and thoroughly bracing plunge.