Erwartungsgemäß wäre die Kritik des Amerikaners Emanuel Levy einzuordnen, blickt man auf David Finchers glorreiche Versatzstücke „Sieben“ und „Fight Club“ zurück. Überraschend erscheinen die Worte des Kritikers im Vergleich mit dem langweiligen Trailer eines der meisterwartenden Filme des Jahres. Schön dass hoffentlich mehr gelungen ist, als anzunehmen war:
Sein Bester seit „Sieben“
David Fincher’s new movie in five years is an epic-scale psychological thriller, a sprawling American masterpiece that represents his best work in a decade, since „Se7en”.
Ambitioniert und Stylisch
Though not as gripping and tightly focused as „Se7en”, „Zodiac” is a more ambitious film, spanning more than two decades and encompassing a huge ensemble of at least 20 speaking parts. Stylistically, too, „Zodiac,“ is a point of departure for Fincher. With the exception of two or three scenes, the film is not as grisly or macabre horror in the mode of „Se7en,“ nor is it a genre picture in the vein of „Panic Room,“ which was narrow-minded and confined to one space and few characters.
A massive undertaking, thematically and narratively, and visually, „Zodiac“ continues to explore in a serious yet also darkly humorous way ideas that have prevailed in all of Fincher’s pictures, such as professional commitment and emotionally intense obsession.
Tiefgründiger psychologischer Thriller
Richly dense, on one level, Zodiac“ is a psychological thriller revolving around the desperate search for a serial killer who terrorized the Bay Area for decades. On another level, it’s a wonderfully detailed procedural policier, delving into the routine work of cops and detectives. On still another level, „Zodiac“ is a compelling newsroom story– two of the central characters are employed at the San Francisco Chronicle.
Acting-wise, „Zodiac“ is also a major achievement. There is not a single weak performance, from the top all the way down. Though all four leads give solid performances, the one who shines through is Robert Downey Jr., as the eccentric crime reporter Paul Avery. With some luck and justice, Downey’s work should be remembered at year’s end for critical kudos and Oscar considerations (Downey has never won an Oscar!).
Eine Ehre für die Großen
Overall, Fincher has made a mesmerizing picture that recalls the most significant movies of the 1970s (for some critics, it’s the last „Golden Age“ in American film), when most of its story is set. „Zodiac“ recalls films like „The French Connection,“ „Klute,“ „Serpico,“ „Dog Day’s Afternoon,“ „The Conversation,“ „All the President’s Men,“ and „Network.“ The best compliment I can pay Fincher is to suggest that Sidney Lumet, Hal Ashby, Sydney Pollack, Allan Pakula, and Coppola, to mention the decade’s masters, would be proud of his intriguing picture, which as of today, is the best American film of the year.