Graham Fuller, Screen Daily
"Psycho is a touchstone (as is Body Heat), though Fincher utilises suspense as a smokescreen for social critiquing. As it traces what went wrong in the marriage, Gone Girl simultaneously evolves as a mordant satire of the mediating of domestic violence as mass entertainment."

Michael Nordine, Indiewire
"Fincher likely prides himself on turning coal into diamonds at this point, but Flynn's script can feel so retrograde at times that one wonders whether it might have been better served by a De Palma, Bigelow, or even a Verhoeven — which is to say, a filmmaker less concerned with making the lascivious seem prestigious. (It's doubtful anyone else could have filmed a certain blood-soaked scene with such unsettling verve, however.)"

Xan Brooks, The Guardian
"In the meantime the film keeps changing costumes, covering its tracks. It’s nodding freely to everything from Fatal Attraction, to Alfred Hitchcock’s Suspicion, to The War of the Roses; all but tripping over itself in its rush to the climax. Thank heavens for Fincher, who keeps the tale so coiled and intense that we are prepared to stick with it, even as it pitches towards outright hysteria. He whips up a bracing, scalding sketch of a marriage in meltdown; a banner-headline study of the domestic hell that we make for each other."

Justin Chang, Variety
"Among other things, “Gone Girl” functions as a wickedly entertaining satire of our scandal-obsessed, trash-TV-addicted media culture; this is a movie as conversant with the tawdry true-crime sagas of Scott Peterson and Casey Anthony as it is with classic thrillers of domestic entrapment like Rebecca, Diabolique, Rosemary’s Baby and Fatal Attraction.”

Jake Wilson, The Sydney Morning Herald
"Thematically, the film can be seen as a sequel to Fincher's Facebook origin story The Social Network, engaging rather more directly with the contemporary reality of social media. Once news of the disappearance goes public, TV pundits and everyday folk are equally quick to take sides – Team Amy or Team Nick? – even as the viewer is made to suspect that both parties have plenty to hide.

"As narrators of the book, Nick and Amy address the reader directly, commenting on the distance between their public and private selves. While Fincher can't replicate this effect on film, he achieves an equivalent kind of irony simply by putting the naturally smarmy Affleck in a role that capitalises on the unbelievability of his good-guy screen persona. Other instances of stunt casting are comparably astute, from Tyler Perry as a purring defence attorney to Neil Patrick Harris as the kind of well-spoken nutcase John Lithgow used to play for Brian De Palma."

David Ehrlich, Badass Digest
"Working from a script by Flynn herself, Gone Girl is a domestic horror show that grows more discomfortingly familiar as it balloons to a national scale. As if Brian De Palma remade Hitchcock’s Mr. & Mrs. Smith and set it inside of the wettest dream that Nancy Grace has ever had, Fincher’s latest is perhaps most remarkable for how it exceeds the sum of its parts."

"THE ACTUAL ART OF WHAT [DE PALMA] DOES IS REALLY, REALLY INSPIRING TO ME"

In an interview with Under The Radar, Austin Trunick tells McGowan, "You’ve worked with some great directors across your career, in particular ones who have been known to sometimes handle dark subject matter – such as Wes Craven, Brian De Palma, even Quentin Tarantino to a degree. Was there anything you learned from watching or working with those directors that you brought to your own directing style?"

McGowan replies, "I think De Palma, out of any of them, for sure. I love his tracking shots. I’ve just been inspired by him, as a filmmaker. Even some of his later movies. It’s so hard to make a movie come out right, or do anything like that. But the actual art of what he does is really, really inspiring to me.

"For me, I probably lean more on things from the past than things from the present. People, I should say." When pushed to name some of those older directors who inspired her for Dawn, McGowan replies, "I would say Douglas Sirk, Charles Laughton, Jacques Tourneur … For me, art is a really big part of it, as well. The loneliness that I wanted to capture is what I feel when I look at certain Edward Hopper paintings. The life of an artist should be rich and encompass many different art forms. It can all coalesce into one piece; all of your random bits of knowledge. For me, I hosted a show on TCM for a year, and I’m on the board of the Film Noir Society with Dennis Lehane and [James] Ellroy, people like this. I’m really steeped in the classics, but I love modern film as well, obviously." (Speaking of Ellroy, of course, McGowan appeared in De Palma's adaptation of the author's The Black Dahlia.)

McGowan similarly tells Ain't It Cool's Papa Vinyard, "It's like when you're, I'd imagine, a [sculptor]. Every chip off the block is what you don't want until it's what you do want. And there have definitely been- I worked with De Palma, and I was really inspired by some of his tracking shots, and certain people like that. But by and large, most of the stuff I did as an actor wasn't [incredibly] inspirational to me as a director."

MCGOWAN'S ORIGINAL PLAN FOR A SHORT WAS A FLANNERY O'CONNOR ADAPTATION STARRING PIPER LAURIE

In a Rotten Tomatoes Podcast, host Grae Drake tells McGowan, "Carrie is actually a note that I made while I was watching [Dawn], because Dawn’s mother is like a less-aggressive Piper Laurie to me. And even in a very short amount of screen time, and a very kind of realistic portrayal of a mom, it wasn’t over-the-top. I went, ‘Oooh, she's gonna be lockin’ Dawn in a closet at some point during this movie.’ [Laughter] Like, this is not going to go well. And so without revealing too much, I thought it was a really good way of foreshadowing what was going to go on, and the kind of world that this poor young girl is finding herself in."

McGowan then replies, "Yeah, [she's] trapped. And I really did it for women. You know, my mom is 60, she just turned 60. And I’m kind of fascinated by that era, and that they were raised to be pleasant and da-da-da, and essentially your goal is to take care of a man and his children. And then I’m fascinated by the fact that later in the ‘60s, the sexual revolution happens, and they’re supposed to be loose and free. But you’re actually programmed to please a man. It was just a really interesting era, and my mom was raised by a very similar mother to Dawn’s, and I wanted to bring that to the screen. Ironically, or, oddly enough, I had Piper Laurie cast in the original short I was planning on doing... Except, she’s 86, I had her in the woods, sub-zero temperatures, getting killed by… it was an adaptation of a Flannery O’Connor piece. Which is a heavy, you know, some great material. So well-written. But I think it all turned out for the best."

The Flannery O'Connor piece sounds likely to have been A View Of The Woods.

(Thanks to Andy!)

Previously:
'THIS SCENE SHOULD BE LIKE EARLY DE PALMA'
'CAPTAIN AMERICA' ELEVATOR SCENE

"An air of Hitchcockian menace and free-floating sexual perversity is by now nothing new for Francois Ozon, but rarely has this French master analyzed the cracks in his characters’ bourgeois facades to such smooth and pleasurable effect as he does in The New Girlfriend. A skillfully triangulated psychological thriller about a woman who learns that the husband of her deceased BFF is harboring a most unusual secret, this delectable entertainment is as surprising for its continually evolving (and involving) dynamics of desire as for its slow-building emotional power, making for a warmer, more open-ended experience than the creepy Ruth Rendell tale from which it’s been 'loosely adapted.' Powered by beautifully controlled performances from Anais Demoustier and Romain Duris, Ozon’s Girlfriend should have willing arthouse escorts lining up worldwide. It opens Nov. 5 in France.

"Rendell, that icy master of British detective fiction, has been best served onscreen by European filmmakers outside the U.K., at least on the evidence of Claude Chabrol’s La Ceremonie and Pedro Almodovar’s Live Flesh. Viewers may well recognize some signature Almodovarian flourishes in this particular saga of gender subversion and forbidden lust; in significantly reshaping Rendell’s taut, chilling short story (mainly by killing off a key character and adding an infant to the mix), Ozon has effectively transformed the material into a clever fantasia on the many varieties of sexual perversity. It will require some mental gymnastics on the viewer’s part to keep up with the increasingly unstable laws of desire that govern the second act, but the director crucially maintains a lifeline to reality even when things threaten to go deliciously over-the-top.

"From the moment they seal their bond in blood to their respective weddings some years later, childhood best friends Claire (played as an adult by Demoustier) and Laura (Isild Le Besco) are utterly inseparable. And so it comes as a particularly devastating blow when Laura becomes ill and dies, leaving her husband, David (Duris), to raise their newborn daughter, Lucie, by himself — albeit with help from godmother Claire and her spouse, Gilles (Raphael Personnaz). All this is compressed into a marvelously economical opening sequence, marked by a distinctly Brian De Palma vibe with its elegant camera moves and morbidly beautiful overhead shots of Laura’s impeccably dressed corpse, plus the mildly unnerving sense that the film is simultaneously mourning and mocking its characters’ unhappiness, as signaled by the swoons and sobs of Philippe Rombi’s extravagantly soapy score."

Meanwhile, Sensacine's Alejandro G. Calvo interviewed Vigalondo a couple of weeks ago, mentioning that with Open Windows, there is a lot of talk about Alfred Hitchcock, "but the truth is that [it] has a lot of Brian De Palma. Blow Out, of course, but also Redacted."

To which Vigalondo responded, "Well, Blow Out is my favorite De Palma film. That is a reference with which I feel very comfortable. I think he's a very ambitious, but at the same time, very human filmmaker. His films have both virtuosity and weaknesses, all wonderful. I feel much more comfortable with De Palma with Hitchcock, as I name them. If you allow it to be tagged as such, it is a beast of an ambition that seems an unattainable task. Then people write things like "this guy is trying to be the Hitchcock of the 21st Century" and, well, I do not mean anything! They are the ones who have written it! (laughs). So I prefer to think about De Palma, someone who I see as like family."

The full episode can be viewed at FOX.com.