David Fincher’s “Zodiac” combines an epic-scale psychological thriller and a brilliant detective-newsroom drama, resulting in a sprawling American masterpiece–and his best work since “Se7en.”
Though vastly different from “Slumdog Millionaire,” in its good moments, which are plentiful, “The Curious Case of Benjamin Button,” achieves the same kind of magical realism, a style that fits its eccentric epic yet lyrical storytelling. “Benjamin Button” represents the same, welcome change of pace for its director-auteur David Fincher that “Slumdog Millionaire” did for Danny Boyle.
Dark, grim, claustrophobic, and scary, the serial killer “Seven” is David Fincher's second film, a follow-up to his disappointing debut “Alien3.” Combining the genres of the serial killer and the buddy policier, the movie depicts the desperate efforts of two cops, well played by Morgan Freeman and Brad Pit, to stop an ingenious serial killer, whose “art work” is inspired by the seven deadly sins. Though star-driven and conforming to generic format, ¬ìSeven¬î is unusually bleak, relentlessly depressing, and intensely dramatic for a studio feature; the movie was made by the mini-major New Line.
David Fincher is such a technically inventive and brilliant director that, even when he tackles a genre film, like his new suspense feature The Panic Room, he elevates it with his signature flourishes way above its damsel-in-distress origins. Recalling noir films about women trapped in a confined space, David Koepp's functional script centres on a single mother and her sickly daughter whose new house is invaded by a bunch of greedy burglars.