David Fincher Binge Part II of VII, 2nd Viewing
I’ve come to the conclusion that if it were up to just the confines of editing and cinematography, Zodiac would one-hundred-percent be David Fincher’s best film. The low limitation of how many cuts the film allows in a frame, and how distanced it often pulls the camera from its central characters conversing or how lit the framing keeps them adds so much to what their emotional makeup is saying as they fall farther and farther away from their stability in the never-ending hunt for one of humanity’s most mysterious serial killers.
Probably the most impressive asset of Zodiac though comes with how flush it coordinates its massive transitioning in time, covering 22 years of information without any omissions. It doesn’t appear like the movie is ever wasting time, but rather putting the most important aspects of the investigation together as if they are a singular incident, birthing one of the most interesting biopics of all-time; one that ironically is focused on a, still to this day, unknown culprit. From the expeditiously witty dialogue to the fully-realized characters and the sound performances that come along with them, jeez, does this movie deserve the cult following that it has graciously gained over the past decade.
The mystery of never knowing exactly “who or why” is what forces this motion picture to be so addictive. Seeing all these suspects and their possible connections to the Zodiac’s glorified murders causes us as an audience to want to put the pieces together ourselves, impelling us to become just as obsessed with the case as our lead character and acclaimed author Robert Graysmith is.
For the record, if I had my bet, it was definitely multiple individuals who created the Zodiac. Leigh Allen had to have been aided by colleagues in order for him to be the killer.
Verdict Change: A- —> A
David Fincher Ranked, The Victors of the 2000s
“Zodiac” is now available to stream on YouTube, Google Play, Vudu, Amazon Prime, iTunes, and Netflix.
Burning the Celluloid 
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