David Fincher has dug a perfect pocket for himself as the creator of films that are universally, uncontroversially loved, while remaining signature and risky. Points can be made for or against any policy or opinion that Fincher has personally expressed, but the films themselves are celebrated by a wide range of genre fans, from true-crime podcast listeners to silicon valley groupies, frat boys to anti-frat boys, suspense – searching in hopes of getting their brains turned into lemon juice for just your friendly neighborhood movie file who likes beautiful pictures.
You can look at any image and instantly know if it’s a Fincher: impossible cameras, unsaturated color palettes, chiaroscuro lighting. Yet the plots go in all directions. Fincher’s Soup of the Day features serial killers, as in his Netflix series Mindhunter, but he is the type who also directs a custom F. Scott Fitzgerald story or a biopic of modern Goliath. In appreciation of a kaleidoscope of brown and yellow colors, here all eleven David Fincher films are ranked.
Blaming Fincher for this is like firing a Pompeii painter because you can no longer see whose portrait this is. Sometimes a study leader wants to make a film so they try it through an upcoming director who has too little influence to fight against. The result is a mess: a tug of war where there should have been an overall direction. Alien 3 had to follow up on two of the most famous sci-fi movies ever and fell hard; it was a slow start for Fincher and ultimately rejected by the director as “not his film.”
Some swear by The game as being exciting, clever and good; these people did not see the end. Without spoilers, Nicholas (Michael Douglas) has been given a birthday present of a “game” from real life with a torturous series of death-defying confrontations and no explanation as to who is driving this or what the prize is for “winning”. All the efforts in the film are based on promises of an expected revelation. The result is so catastrophically unoriginal, uninteresting, and regrets any logical connection made in the past that it retroactively erases the previous hour and a half of all its value.
As for the skips in the Fincher filmography, Panic rum does not exactly deserve its position in here, but it is also not as bad as many make it out to be. Meg (Jodie Foster) has just moved into her new, luxurious home with her daughter, Sarah (Kristen Stewart), complete with an impenetrable panic room. As burglars (including Jared Leto and Forest Whitaker) break into the home, knowing a secret about the contents of the panic room, Meg and Sarah are trapped without communication to the outside world. Are some parts of it a bit outdated? Of course, but lots of it is smart, exciting and worth seeing when you have a moment.
Written by David Fincher’s late father, Jack Fincher, Mank looking at the writing of “The Last Supper of movies, ” Borger Kane. Mank‘s subject, Herman J. Mankiewicz (Gary Oldman) – the blacksmith behind sleigh and dear friend of the script’s subject, William Randolph Hearst (Game of Thrones} ‘Charles Dance) – navigating alcoholism, attacks by representatives of the Hearst estate and a new political age of democratic socialism versus semi-reformed capitalism. Mank deserves credit for being committed, daring in this age and even healthy given its paternal origins, but that does not hold light for most other entries in Fincher’s filmography. The crown jewel is its clever dialogue that suits its namesake, which is an honor to be given to Jack instead of David.
Zodiac’s placement in seventh place has far less to do with any inferior qualities, but rather with 1) Fincher has made six even more incredible films, and 2) the film throws itself on the fire, which is “Arthur Leigh Allen was the Zodiac Killer,” an accusation , which is now easily assumed to be incorrect in favor of Gary Francis Poste (although the case is still open). As the title suggests, Zodiac sign follows the investigation of Zodiac Killer, the notorious killer of five Californians with claims of up to 37. Like the investigation itself, the film offers danger, suspense, and a promise of revelation in every crack of every image. No movie will ever make you so careful about noticing which of your California friends have cellars.
6The Curious Case of Benjamin Button
Based on the terrible F. Scott Fitzgerald short story, The Curious Case of Benjamin Button follows Benjamin Button (Brad Pitt) as a man born geriatric and ages younger with time. Written by Eric Roth by Forrest Gump and Villeneuves Dune, the miraculous improvement of Fitzgerald’s presupposition showed a splendid exploration of which gifts of grace are generously dispensed by existence and which should be redefined as sacred. The Curious Case of Benjamin Button is not only a glance at life, but through its inverted motive, a glance at yours; it’s not about whether Button’s reversed path is blessed or cursed, but about our traditional it is.
5The girl with the dragon tattoo
After the famous Swedish film adaptation of the Millennium series, Men who hate women, Fincher’s bet was to fit a square stick in series length in a 2.5 hour round hole. When you see it, you can feel that there is not a moment left over with plot and development, but where it could feel rushed in another film, it feels energizing and exciting here. IN The girl with the dragon tattoo, Mikael (Daniel Craig), a disgraced journalist, teams up with Lisbeth (Rooney Mara), an antisocial hacker, to solve an island mystery that has plagued the Vanger family for decades: what happened that night where 16 -year-old Harriet Vanger went missing? The film is right next to Fincher’s alley: twists and turns with deadly suspense and a desperate need for information, all done with expert precision and even a bit of frivolity. Not to mention one of the most underrated and impressive scores ever by Fincher’s regular partners Trent Reznor and Atticus Ross.
A modern classic in what has become the semi-Lucille Bluth-influenced “Good For Her” genre, Away girl Gillian Flynn’s famous novel translates perfectly on screen with some of the greatest casting choices in recent history. The way people tend to feel about Ben Affleck and Rosamund Pike is exactly how they subconsciously feel about Nick and Amy; the same for Emily Ratajkowski, Tyler Perry, Neil Patrick Harris, the whole film rests on your premise, to the great delight of the plot. The Reznor / Ross result is again excellent and includes the eerie nature of suburban sterility. When the centerpiece of “Who Kidnapped or Killed Amy Dunne?” is realized, and the film really begins, the questions of girl-boss variations of feminism and elitist assumptions about working-class abilities lead this film to the Final Four of the Fincher filmography.
Fincher’s de facto debut is about a serial killer (label your bingo cards) who claims victims based on the seven deadly sins. While detectives Mills (Brad Pitt) and Somerset (Morgan Freeman) chase the brains, their own personal lives become intertwined in the events. The twists and turns are some of the most celebrated in film history, the cruelty announced to the world exactly how strong Fincher’s belly was, and the performance (with some debate) is simply superb. After the tragedy that was Alien 3, the studio’s desire to change Seven’s infamous ending to something more optimistic (a suggestion that Pitt threatened to leave the film) is yet another Hollywood legend about how suits almost ruined Fincher’s career before it could start.
It is not that there are not enough words in this section to talk about Kampklub, that is, a university course would be necessary to cover the debate on whether Kampklub acts as a hypermasculine champion of misogyny, militancy and masochism or an undeniable condemnation of precisely these things. The author of the novel, Chuck Palahniuk, is gay and thought it should be an obvious critique of hypermasculinity, but for some of the deeper cinephiles on this side of the aisle, Kampklub goes on as an exploration of closed men’s need to explore each other’s bodies without consequences. To some viewers, it is a judgmental critique of capitalism and corporatism; even a layer deeper, and Tyler Durden is a representation of Leninist statism against Marxist anarchism. Short about, Kampklub at this point it has become the most accessible Rorschach test for film academics in modern history, and that alone raises it to a level so ethereal that it gets its streaks here.
1The social network
Quoted by many as the greatest film of the 2010s right at the beginning of the decade (until Parasite became in particular its biggest competitor right at the end), The social network follows Mark Zuckerberg on his journey from being dumped to being the youngest selfmade billionaire in history of his time. The social network has what may be one of the greatest scripts ever, Aaron Sorkin’s opening scene is now a routine course on subtitles and character agendas. It has what is perhaps one of the greatest scores ever, the orchestral simplicity of Reznor and Ross against an electronic parade that suggests that Zuck is a machine with some strains of humanity left in him. It has some of the best performances of its star career, Jesse Eisenberg masterfully keeps the pace of the film, but Andrew Garfield’s Eduardo Saverin steals the hearts. And the themes: take everything from the aforementioned films about interrogations of capitalist innovations, the purpose of being alive and hypermasculine masochism, wrap all these themes in toaster cords, and throw them in the bathtub while democracy washes itself. It is The social network.
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