Zodiac

This is a movie about process. It's about what happens when a case goes cold and simple answers don't suffice. It's a risk taken when one does a fictional presentation of an historical event from fairly recent times. You can stick tot he facts or simply make things up. I enjoyed this film because the three principle characters were real and human. All were in over their heads to some extent. Jake Gyllenhaal character makes that sometimes unfortunate serendipitous discovery and becomes obsessed. The police have done what they can, but without passion and this is what Gyllenhaal's character brings to the game. Unfortunately, so much time has passed and so much has gone cold. So everything is based on circumstance. We must content ourselves with what we find and give up on confessions or witnesses. I knew from the start what the case was about and I recommend that those sourpusses that complain about this film do a little reading (maybe one paragraph on Wikipedia which should handle your attention spans) and then decide whether you want to bother with this. Personally, I thought the acting was superb and it painted a picture of the frustration with trying to solve a case with only bits and pieces.

*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.

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.

On July 4, 1969, a killer shoots a couple on lovers' lane in Vallejo, California. The boy survives. The San Francisco Chronicle receives a letter from the Zodiac killer to print his letters with symbols. Reporter Paul Avery (Robert Downey, Jr) is on the case with the help of eager cartoonist Robert Graysmith (Jake Gyllenhaal). The brutal murders continue moving to San Francisco. San Francisco police detectives Dave Toschi (Mark Ruffalo) and William Armstrong (Anthony Edwards) are given the case. Other police include Jack Mulanax (Elias Koteas) in Vallejo and Detective Ken Narlow (Donal Logue) in Napa. Defense lawyer Melvin Belli (Brian Cox) appearing on TV gets a call from the supposed killer.

This starts off as an interesting serial killer mystery. The attacks are horrifically shown. The couple forced to be tied up and stabbed is probably the most memorable. However the movie turns into something deeper. This is not another serial killer movie like the endless TV shows that populate modern networks. It may not even be about the central characters. This is an immersive experience living with the serial killer always on the mind. The Zodiac killer is just out there in this world. It's fascinating in its dark undertones and the lack of flashiness.

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.