Zodiaco

Based on the wonderful novel, this film brilliantly tells the story of the unknown Zodiac killer, who operated in the late 60's and early 70's.

You will easily lose a full night or afternoon with this movie, it's incredibly, it's engaging, dramatic, and captivating. I love how the time passes by on the film, everything changes accordingly, it's very well produced. At times it's very sinister, and creepy, but it's subtle, nothing is forced or heavy handed.

The acting is terrific, Ruffalo and Downey are brilliant, a fresh faced Jake Gyllenhaal is arguably the one that steals the show.

It really is a brilliant movie, I would recommend it highly. 9/10.

Usually when a film gets made about a media grabbing unsolved crime, the resulting movie tends to be overtly sensational and at best remotely connected to what really happened. Considering that director David Fincher's last film about a serial killer was the gripping but deeply disturbing Se7en, his take on the Zodiac killer almost seemed primed to be an extreme, nail-biting thriller.

Instead what he's given us is a well argued thesis on the possible identity of the Zodiac. While there are some very intense scenes, Fincher takes a somewhat unexpected approach on the subject. All of the killings take place pretty early on in the movie, with the bulk of the story centering on the actual investigation into the killer by both the cops and a cartoonist who becomes obsessed with the case. In fact, the depictions of the murders are done in a manner that is fairly reverent towards the victims while still conveying the cruelty of them.

Some people may find themselves disappointed by this two and a half hour epic if they go in expecting the usual serial killer fare. But it's a must see for any fan of Fincher's work, or anybody who likes a good detective story.

Just a few days ago, my mom and I watched a documentary on the famous Zodiac killer and his victims. It was incredibly interesting so it got me thinking about the film Zodiac that was released this year and lucky enough it was released on DVD today so I rented it. My friend and I just watched it a couple of hours ago and really liked it, especially on how it ended and was over all shot. I thought it was kinda cool how it started off like a documentary type of movie, but then was turning into a thriller that kept you going and guessing, even if you knew the whole story.

In the small towns of California, there are several brutal murders, eventually going onto San Fransisco. These murders are extremely violent and very random, and every time it happens there is a message or sign that is left by the killer that calls himself the "Zodiac". He sends letters to the press on how and where he killed his victims and teases the police that they will never catch him. But Robert, one of the newspaper cartoonist starts to obsess about the killer, who he is and how they can capture him.

With an all star cast, we had absolutely no problem with acting because it was terrific. Jake and Mark held their own very well. The whole story is very chilling and kept you going. The Zodiac Killer is a case that forever will remain a mystery and it was a great idea for a film, Fincher added a Se7en type of feel to this film. It's so funny how I knew the story and how it ended already, but I was actually just waiting to see what would happen in the next scene. I would highly recommend this film to any thriller fan, I'm sure you'll enjoy it, it's a great one for 2007.

8/10

*This comment may contain spoilers, but I tried to be as vague as possible, and I think that this movie actually improves if you more or less know the ending.*

When David Fincher's ZODIAC opens with the year "1969" on the screen, a colorful wide angle shot of California, and a song from "Hair" on the soundtrack, we think we know what we are in for: an atmospheric historical epic. Then the film's first murder happens, and we are at the San Francisco chronicle with Jake Gyllenhall and Robert Downey, Jr., just recognizable enough under their period garb.

We see three other murders or almost-murders within the first 1 1/2 hours of this 2 1/2 hour movie, and they are terrifying in a way that few movie murders are: this is one of the only movies that succeeds at making you identify with the victims, and the murder scenes contain enough gore to be convincing but not so much gore that it becomes its own aesthetic, as in other Fincher films.

But ZODIAC is so long that eventually, the murders fail to keep our attention. The movie makes so many leaps through time and recounts so many investigations that lead nowhere, it is easy to forget that it began as an exciting movie.

One could easily argue that the movie has a right to be so uneventful because it is a "realistic" reflection of police procedure and of, well, reality. It is, but one can't help but think, With all the time-lapsing that goes on (it constantly jumps months ahead in the late '60s and early '70s, and then jumps from '73 to '77 to '83 to '91), why couldn't it skip more boring parts? The movie manages to be both too truncated and too thorough.

On a positive note, the digital cinematography by Harris Savides gives the film a consistently interesting look, which is something that many better movies don't have. He gives the film the signature "Fincher" look: saturated pastels in the daytime and a vague yellow-green tint at night. The movie is visually interesting without being calling too much attention to itself, but it's a shame that there's not enough to watch. The actors are sufficient, but the movie has no protagonist and we don't get to know anyone well enough - not even Robert Graysmith (Jake Gyllenhall), who becomes the de facto main character half way through.

The friendship between Graysmith and Paul Avery (Robert Downey, Jr.) - particularly a bar scene in which Graysmith introduces Avery to the merits of girly drinks - is interesting enough, but when Avery ceases to be a major character, we don't get enough of an indication that Graysmith has a life outside of his obsession with the Zodiac case. That may have been the point, but it doesn't work: there is nothing wrong with a plot that goes nowhere if the characters manage to hold our interest, but they don't hold our interest for all 2 1/2 hours, and the movie itself seems to lose interest in Graysmith towards the end. ZODIAC has no pay-off, which wouldn't be a problem if it weren't such a plot-driven film.

Still, it has its moments that nearly redeem it. It's a bit like a friend who tells long and meandering but enthusiastic stories: once you realize that his stories will always be too long, you can focus on the better parts. But his stories are still too long.

"Zodiac" may frustrate viewers who come to David Fincher's latest film expecting a traditional serial killer thriller. The film begins with a couple of hair-raising and rather brutal recreations of murders carried out by the mysterious killer who terrorized the San Francisco Bay area in the late 1960s and early 1970s. These early scenes are shocking and, compared to the rest of the film, disorienting, because they offer the only time that we come close to seeing events from the killer's perspective. As the film progresses, the Zodiac killer himself fades into the background, and the movie turns into a meticulous and engrossing document of the investigation to track him down, an investigation that includes countless blind alleys and false clues and which to this day has not reached a conclusion. I would be more prone to label the somewhat rambling screenplay as sloppy storytelling if I did not feel that Fincher tells the story exactly as he wants to. The elusive narrative works, because the film is about an elusive villain.

Jake Gyllenhaal plays Robert Graysmith, a cartoonist working for the "San Francisco Chronicle" at the time the Zodiac killer began his gruesome work. He becomes fascinated by the case, and takes it on as a sort of morbid personal hobby long after the police department has given it up as a lost cause. Graysmith eventually wrote the book on which this film is based, and according to his accounts, he discovered enough evidence about one of the suspects in the case to put the police back on his trail years after he'd been cleared for lack of evidence. Other characters come and go. Robert Downey, Jr. does characteristically terrific work as a reporter at the "Chronicle" who grabs his own portion of notoriety through his involvement in the case. Mark Ruffalo and Anthony Edwards play the two detectives in charge of the investigation. Chloe Sevigny plays Gyllenhaal's put-upon wife, who gradually loses her husband to his obsession. All of the actors deliver thrilling performances, many of them against the odds. Since this isn't a character driven movie, many of the characters remain undeveloped, but not, for once, to the detriment of the film. This story isn't about the people involved, but rather about their role in the Zodiac saga; once they've served their purpose, Fincher dispenses with them. Ironically, a film that clocks in at nearly 3 hours exhibits a great deal of narrative economy.

Parts of "Zodiac" are intensely creepy. Fincher effectively uses the rainy San Francisco atmosphere to its maximum potential, and the grimy browns and grays of the production design call to mind Fincher's other well-known films, like "Seven" and "Fight Club." But "Zodiac" is much more grown up than those films, and for an audience to enjoy it, it has to have an attention span. Long scenes are given to analyzing handwriting samples, recreating the scenes of murders, digging through newspaper clippings and files. You can tell that Fincher is fascinated by police work in the pre-CSI era, when fax machines were still a novel invention. He delves into the investigative process with a nearly fetishistic attention to detail, but he makes all of it endlessly mesmerizing. He does his best to bring everything to some sort of conclusion, but the real-life end to the story makes a complete conclusion impossible. This film is more about the journey than the destination, and what a journey it is.

Grade: A