At the heart of superhero stories are our modern myths, a way of how contemporary society deals with the real world through easily recognizable pop icons. It’s not about things like continuity or consistency or “rules” or even sacredness so much as the tradition of interpretation and re-telling. Comics writer Alan Moore once had a saying, “This is an imaginary story… aren’t they all?” And that cuts right into what Zack Snyder has done with his messy yet endlessly audacious superhero opera, Batman v Superman: Dawn of Justice.
Lives and society are largely based around the roles people play. Societies exist with an expectation that everyone plays a certain role. This provides order otherwise, it becomes a chaos. By “roles” I mean the “faces” they put on for the outside world, their loved ones and even for themselves. Sometimes it’s an image, a way of dealing with or adjusting the truth, many times it’s a lie to “fit in” with external expectations. Filmmaker David Fincher’s teams up with writer/feminist critic Gillian Flynn (who is adapting her own controversial novel) for Gone Girl, a film that is all about lies: the lies we tell each other, the lies society tells us and the lies we tell ourselves. It is a dark film with a cynical view of people. Gone Girl uses the framework of a standard-issue “whodunit” to create a bleak, darkly clever and absolutely biting satire on gender roles and dynamics, marriage and societal expectations. To go into detail about specifics in the story may in fact alter the experience and so prospective viewers may want to go into this film as “blind” as possible. Nevertheless the best review for such a film as this is to provide the context to get the uninitiated in the best possible mindset for such an experience.