Zodiac

REVIEW:

The opening of Zodiac immediately sets the tone, transporting the audience back in time with the old-styled studio logos, evoking a sense of nostalgia and setting up the unsettling atmosphere that will follow. Directed by David Fincher, the movie immerses viewers into the gritty reality of the infamous Zodiac killer case. Right from the start, the film feels like an eerie trip through 1960s San Francisco, and the atmosphere is palpable. With an almost crushing weight, Zodiac creates a sense of dread that seeps into every frame, making the viewer feel like they’re part of the tense investigation.

Fincher expertly establishes an unsettling rhythm, using on-screen text to convey the passage of time between murders and investigation phases. This constant jump between days, months, and even years showcases the exhaustive length of the investigation. The movie sticks closely to a specific timeline, with an incredible attention to detail, reinforcing the complexity of the case and the sheer frustration of the detectives and journalists trying to solve it. Every date, every clue, and every development is mapped out with precision, pulling the viewer deeper into the mystery as the case spirals across multiple jurisdictions.

One of the film’s most gut-wrenching moments comes when a mother and child are picked up by a seemingly helpful driver. The audience is left to assume the worst, and the tension is almost unbearable. The murders crossed several police districts, and the way different law enforcement agencies held fragments of evidence without collaborating effectively adds to the chaotic nature of the pursuit. Each investigator holds part of the truth, but without full cooperation, the killer remains elusive, making the viewer as frustrated as the characters.

The cinematography in Zodiac is particularly clever, especially in its portrayal of the Zodiac killer. Fincher deliberately keeps the killer shrouded in almost complete darkness during the attacks, making him feel ever-present yet faceless, adding to the film’s sinister tone. This decision amplifies the fear surrounding his identity, creating an aura of dread. Fincher’s direction makes the viewer feel like they’re watching a real-life documentary, not merely a dramatisation of events. The film’s rawness is enhanced by these visuals, always balancing the violence without making it overly gory, yet still maintaining a sense of brutality.

One of the standout performances comes from John Carroll Lynch, who plays Arthur Leigh Allen, a prime suspect in the case. Lynch’s portrayal is deeply unsettling, with Fincher framing him in ways that make the audience suspect, just as the police did. He radiates an unnerving aura, and scenes with him feel almost suffocating. The nail-biting sequence where Jake Gyllenhaal’s Robert Graysmith confronts Allen in a hardware store is a masterclass in tension. You can feel the weight of Graysmith’s conviction that Allen is the Zodiac, and the moment of their prolonged stare-down is unforgettable.

While some critics claim that Zodiac runs too long, I would argue that the length is crucial for telling this intricate story. The pacing allows the audience to experience the painstaking, years-long investigation alongside the characters. It’s a constant guessing game, with new developments that keep you on edge, unsure of what will happen next. Jake Gyllenhaal shines as Graysmith, a man so obsessed with solving the mystery that it consumes his life. The rest of the cast, including Robert Downey Jr. and Mark Ruffalo, also get their moments to shine, rounding out an ensemble that delivers consistently. Though it doesn’t quite reach the heights of Fincher’s Seven, Zodiac remains an exceptional, tension-filled exploration of a case that haunts people to this day.