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I saw it over the weekend, and after letting it sit in my brain for awhile, I became impressed. I almost never have an immediate reaction to a movie that sticks, same way with books or with rock bands. But I think it didn't take me long to realize it might be one of the best crime movies in a decade of already superb works of the genre.

And frankly, I'm kind of stunned that I would be so taken with the film. Thanks to A&E, I already knew the case from an episode of Cold Case Files. So any sort of element of surprise was out the window. But I didn't consider how David would pull it off, and actually doubted his ability to make it interesting to me. I know now never to make that mistake again.

I agree with Len, as far as the killings, but they aren't the most psychologically gruesome I've seen on film. Because, let's face it, you know what will happen to a degree. I must say that the stabbing of the couple by the lake is pretty gruesome as far as how blunt it is.

What I liked most was the chemistry between the men investigating the case. Something like that really has never been present in any of David's prior work, with the exception of Fight Club. But there was something more warm and honest this time around, something more akin to the great crime procedurals where you see the partners connect with the common goal of solving the crimes.

Overall, what is most apparent is the film's maturity. Not to say that David's work before came close to immaturity, but there's less cynicism here than there was before. Plus, it's so different visually. I'm not sure whether it was the aforementioned maturity influencing the photography, or the new element of the HD cameras. But you'd never know sometimes from watching this and The Game that both were shot in the same city, despite both films brief shots of famous SF landmarks.

Steven Shaviro has posted some interesting observations on the film at his blog.

It's not on its website yet, but the Film Society of Lincoln Center is hosting "An Evening with David Fincher" on November 19, with a screening of the longer director's cut of Zodiac.

From the Film Society's November calendar:

We are very excited to have David Fincher with us at the Walter Reade Theater, making a rare appearance after showing a director's cut of his film (seven minutes longer than the theatrical version), in conversation.

Is this the cut put out on DVD or is it seven minutes longer than that?

I believe it's longer than the DVD cut--this director's cut will be on the 2-disc SE that's coming up, right?

Should be what's found on the upcoming director's cut, if it says it's seven minutes longer than the theatrical cut. Any word on the price for this event? I hope it's not as prohibitive as the Evening with Tim Burton, where they're asking $50 and $60 to watch clips of Sweeney Todd during a conversation with Burton.

No prices yet.

EDIT--
It's as pricey as the Burton evening:

Tickets for An Evening with David Fincher are $40; $30 for Film Society members and students with valid photo ID. They are available at the Walter Reade Theater box office and online at www.filmlinc.com.

I was watching L.I.E. (2001) on Netflix instant, and at around the 17-minute mark Donovan's "Hurdy Gurdy Man" comes on the soundtrack, during which there was a tracking shot from inside a car... both of which appeared similarly (though not exactly) in the later Zodiac. As well, both films feature Brian Cox. I wonder what's going on here, it's weird.

David Fincher is introducing a DCP projection of the theatrical cut at MoMA next Saturday as part of their Harris Savides retrospective. (Remember, this was completely shot in digital, one of the first films to do so.)

Picked up the recent re-issue of the Blu-ray. The one non-Zodiac-murder related scene I kind of wince at is Graysmith trying to remember all the stuff he read from the Vallejo files and writing it down in a diner across the street. I have a hard time memorizing things sometimes, I can't imagine the kind of mind-fuck something like that would put on me.

With that wording, I think you're leaving out the "nighttime drive" scene, which creeps me the fuck out everytime I watch it.

Spoiler

"Before I kill you, I'm going to throw your baby out the window."

The two scenes that creep me out the most include that one (with Ione Sky!) and the stabbing of the couple in the park. I think it's the bland, matter-of-fact, almost awkward way that both killers behave, which is entirely different from the way serial killers ham it up in other films.

I'll be honest, I usually skip over that scene when I watch it but that would be the winner overall.

Andre Jurieu wrote:The two scenes that creep me out the most include that one (with Ione Sky!) and the stabbing of the couple in the park. I think it's the bland, matter-of-fact, almost awkward way that both killers behave, which is entirely different from the way serial killers ham it up in other films.

That's one of the most disturbing murder scenes I've ever seen.

Spoiler

If I remember correctly, it's shot so the frame bisects the body in half lengthways so you don't see the knife entering the body ... only the horror and pain on the victim's face. Really awful stuff ...

There's a lot to pick over in those three scenes as some of the more disturbing parts of David's canon. That it also manages to be as witty, sharp and darkly comic as well is testament to his talent.

Another disturbing moment, that really stands out but I don't see mentioned as much...

Spoiler

When the cop puts his flashlight on the girl in the car, and you see her take what may very well be her last breath.

Did this film completely alter anyone else's comfort level with Donovan's "Hurdy Gurdy Man"? I was always a little creeped out by it, but post-Zodiac, it gives me chills to the bone whenever I listen to it. I probably appreciate the song more than ever, but whew.

mfunk9786 wrote:Did this film completely alter anyone else's comfort level with Donovan's "Hurdy Gurdy Man"? I was always a little creeped out by it, but post-Zodiac, it gives me chills to the bone whenever I listen to it. I probably appreciate the song more than ever, but whew.

Yep, it was a perfect choice as a song that ostensibly celebrates the flower power era (which a whole lot of Donovan songs do) but has very disturbing overtones nonetheless. It reminds me of how "In-a-Gadda-da-Vida" was used in MANHUNTER.

I've never been a Donovan fan, but Zodiac (and for that matter GoodFellas) made me take notice of their respective songs. "Hurdy Gurdy Man" definitely creeps me out now.

I'm not a big fan of his either, and I can't say that I feel any differently about the song particularly as it pertains to funk's question. I've always kind of liked "Hurdy Gurdy Man" (Jimmy Page's guitar work particularly), and the film made me appreciate it more. It works well as a book-end, and I think is just as effective at the end.

I honestly don't know why I feel this way, other than I probably listen to too much music to have that kind of attachment to a song. It's why something as simple as "what's your favorite song?" is so difficult for me to answer.

Seeing this thread bumped reminds me of what a magic experience this was to see theatrically. Just to be completely absorbed from first frame to last for such a long stretch of time, with that sense of being fully in the hands of a storyteller operating at the peak of his craft, and moreover of never specifically knowing where in the story we were being taken next... I've had a lot of tremendous moviegoing experiences in the last decade but that may be the one that will stay with me the most.

Has anyone read this?

No but they're basing the artwork off the wrong Fincher movie

flyonthewall2983 wrote: No but they're basing the artwork off the wrong Fincher movie

The artwork is based off of Gary L. Stewart's dad's February 22, 1962 SFPD mug shot. There's two sections of glossy front and back photos, documents - first one 7 pages, second 8 pages. I got my used Amazon copy (great condition) yesterday and I may finish it tonight.

D50 wrote:

flyonthewall2983 wrote: No but they're basing the artwork off the wrong Fincher movie

The artwork is based off of Gary L. Stewart's dad's February 22, 1962 SFPD mug shot. There's two sections of glossy front and back photos, documents - first one 7 pages, second 8 pages. I got my used Amazon copy (great condition) yesterday and I may finish it tonight.

He wasn't referring to the photo of the man, but the overall style of the cover.

PfR73 wrote: He wasn't referring to the photo of the man, but the overall style of the cover.

Interesting.