Robbie Collin, The Telegraph
"But above all, it’s is a delicious exercise in audience-baiting: what begins as a he-said, she-said story of mounting, murderous suspense, lurches at its fulcrum into the kind of hot mess Brian De Palma might have cooked up 20 years ago in his attic."
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."