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Watch The Good Lie Movie2k,  The movie poster for “The Good Lie” features a smiling Reese Witherspoon, front and center. But, truth be told, neither Witherspoon nor her character is the film’s star — not in the essential sense. The real stars are the Sudanese children at the bottom of the poster, their backs to us, trudging across an empty, sun-scorched expanse.

“The Good Lie” tells a fascinating story, that of the so-called “Lost Boys” (and girls) of Sudan, youngsters orphaned by the bitter war that engulfed their country beginning in 1983, forcing many to trek for hundreds and hundreds of miles — over several years in some cases — to safety. And, admirably, the filmmakers keep these youngsters — and the young adults they became — central in their storytelling. They may have a Hollywood star on their hands, but this isn’t a Hollywood star vehicle.

It’s probably safe to say that many Americans know little or nothing about the humanitarian effort, begun in 2000, to resettle thousands of young refugees from Sudan in U.S. cities. For that reason alone, this movie, directed by Philippe Falardeau, is worth seeing. Luckily, it’s also a compelling film — occasionally a bit too earnest, perhaps, or overly broad in its humor, but often deeply moving.

The story is fictional, but based on extensive research by screenwriter Margaret Nagle, who interviewed hundreds of “Lost Boys.” The film begins in a southern Sudan village, where two brothers, Theo and Mamere, and their sister, Abital, suddenly find themselves orphans when attackers come rampaging through, killing anyone in sight.

Since their father was the village chief, that title now falls to Theo, the elder brother. With a few other youngsters, they start a treacherous trek out of Sudan. They escape mass slaughter yet again by crossing a river, but lose Theo, who saves them by sacrificing his own safety. Eventually the small group winds up at the Kakuma refugee camp in Kenya.

Fast forward 13 years. Mamere, Abital and close friends Jeremiah and Paul have become a family unit. One day, their names appear on a list of refugees chosen for resettlement in America. Joyously, they board the plane.

Upon arrival in New York, the group is forcibly separated; boys to Kansas City, Abital to Boston. Despite that painful setback, the boys settle into new lives as best they can. Helping them is Carrie (Witherspoon), a tough-skinned type who works for an employment agency. They need jobs to stay in America and also to pay the government back for their plane tickets.

As the men adjust, there are a few too many culture-clash jokes: They aren’t familiar with light switches, telephones, jello molds, the vast variety of types of Cheerios (that one’s funny), ice rinks. But the cast is wonderful. The “Lost Boys” are played by actors of Sudanese descent, and they’re terrific, especially Arnold Oceng as Mamere, who struggles to lead the group with dignity and determination, even as he chides himself for surviving when Theo did not.

It’s fascinating to read the biographies of this well-chosen cast. Oceng fled the war zone at 2 years old. Actor-rapper Emmanuel Jal, who plays his talented but troubled friend Paul, was a child soldier during the war, and like many war orphans, doesn’t know when he was born. Ger Duany, who plays religious-minded Jeremiah, was also a child soldier, and gained refugee status in the United States at age 16. The lovely Kouth Wiel, who plays Abital, was born in a refugee camp.

And about that title: “The Good Lie” is a reference to the lies Huck tells in “The Adventures of Huckleberry Finn” — lies that are “good” because they protect another person. It’s also a reference to this movie’s hugely moving ending. We won’t give it away. But bring the Kleenex.

“The Good Lie,” a Warner Bros. release, is rated PG-13 by the Motion Picture Association of America for “thematic elements, some violence, brief strong language and drug use.” Running time: 110 minutes. Three stars out of four.

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Gillian Flynn’s impeccably crafted, if garishly written, novel Gone Girl leads readers down a rabbit hole so mind-bogglingly twisty that it almost defies reason. The sea-sawing motions of the book’s he-said-she-said structure, which so cunningly involves the audience by toying with their expectations of narrative and male-female relationships, clearly appealed to David Fincher, a filmmaker whose art has always been devoted to the enigma of personality and memory, and so often reflected in his surgical-like fondness for symmetry. His films don’t lack for thieves and crooks, scheming and sleuthing, and Gone Girl and all its slippery sleights of hand are very much in his wheelhouse. But it remained to be seen if this postmodern observer of procedure would challenge or obscure, with his propensity toward cool and sobering aesthetic spectacle, the having-it-both-ways moral relativism that Flynn so stridently engenders throughout her book.

The film begins deceptively on the straight and narrow, with a privileged husband and wife, Nick (Ben Affleck) and Amy Dunne (Rosamund Pike), in the wake of some money problems, moving from New York City to the heart of Mark Twain country. In the first shot, Nick passes his fingers through the blond locks of Amy’s finely shaped head, which suggests, like Fincher’s crystalline images, a patina of myth. And even though he wants to break her head open, and even though she’s been given so little agency in the choice of their move to the Midwest, his shock is palpable enough when he comes home to find broken glass on the floor to suggest that he has nothing to do with her disappearance. At least not in ways the audience might expect. Fincher is in the business of obfuscation, and Gone Girl thrills in its lack of temporal fluidity and withholding of cause and effect. This is, on the surface, a run-of-the-mill anatomy of a crime that finally becomes an almost surrealistic dive into the mind of a psychopath.

As murder mystery, Gone Girl abounds in minutiae, in speculation, clues, witness testimony, and news reportage. Yet this isn’t, as Nathan Lee wrote in praise of Zodiac in the Village Voice, an “orgy of empiricism.” Fincher catalogues the events of the novel with an elegant brusqueness that feels wiped clean of potential resonances, like the kitchen floor where Amy lost copious amounts of blood. There’s an acknowledgement of the economic despair that’s depleted our nation in the postcard-pretty montage of decrepitude that opens the film, but any insight into this desolation and how money woes color Nick and Amy’s predicament stalls there. Even a later scene, where the investigation into Amy’s disappearance leads to an abandoned mall where she might have bought a gun from a homeless person, is too busy fulfilling Fincher’s familiar shtick of having detectives flash lights into chasms of inky-black darkness to ever hauntingly scan as an empathetic imprint of a world having been left behind.

Fincher’s detachment is fitting here only insofar as he’s dealing with characters who are always on guard. But there’s detachment, and then there’s disinterest. In flashbacks that punctuate the film, Amy is scrutinized with a transparency that’s laughable. If she’s into bending men to her will in the present, it’s a mania that’s easily traced back to her parents, who “plagiarized her childhood” for Amazing Amy, a popular string of children’s books wherein her fictional doppelganger achieved everything she couldn’t in real life. Woe is Amy, a practically brick-to-the-head example of Freud’s concept of the uncanny, and woe is Nick, the prototypical nebbish who’s unlucky to have gotten caught in her crosshairs. Or any woman’s crosshairs, for that matter, which is consistent with the book’s vision of Nick being incessantly victimized by the other sex, women who are depicted only as shrill, lecherous, petty, or conniving. There’s a comic streak to the film that suggests Fincher may understand the material as trash, but it’s the kind of affectation that only reinforces, rather than dulls, its insults.

As in Flynn’s novel, because Nick’s point of view doesn’t take the form of written letters and isn’t understood as an appeal to the audience, his innocence, at least in Amy’s killing, is always assumed. No suspense there, and if the shrillness of the cloyingly appeasing Amy on the page was belied by her convincing earnestness (this is Flynn’s one masterstroke, which is easily confused for bad writing), there’s no leavening agent in the film, as Pike’s guileless delivery makes clear that Nick is unmistakably in the right, even if he doesn’t always have the upper hand. Just as Fincher views the infinitely frayed layers of Affleck’s prized mug, from the furious to the resigned, as the orbit around which the entire film pivots, he more or less delivers Amy as an open book, reducing the revelation of her spectacularly feigned innocence and sense of victimhood to just a matter of time.

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is at heart a melodrama about a marriage’s collapse and bonkers restoration. The ending many readers wanted from the book is the one where, as mischievously suggested by the film’s early teasers, Nick sends Amy to the bottom of the Mississippi. But that’s not the one we deserve—and it’s not the one we get in this most faithful adaptation. In the pathological way Amy retaliates against Nick, the true Amy is revealed as a stereotypical embodiment of feminism by wanting to strip men, and not just Nick, of their “power.” Affleck is so committed to how his character becomes resigned to the anxieties that Amy causes him that his surrender feels more understandable than it does in the novel, where it was even more fabulously and conspiratorially orchestrated. But Fincher and Flynn should have gone further and truly grappled with the real horror that, by giving his relationship with Amy another chance, Nick is indulging in one of the great myths of feminism: that it emasculates men. Rather than undermine that noxiousness, Fincher enshrouds it in funereal brushstrokes that cast his Gone Girl as a fashionable tumbling into an abyss of willful denial.

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Watch Gone Girl Movie Streaming Free, Tyler Perry is gearing up for the role of a lifetime—dad. E! News exclusively confirmed last week that the entertainment mogul’s on-again, off-again model girlfriend of several years, Gelila Bekele, is expecting their first child, and now the celeb has spoken out about entering the next chapter of their lives. “Yes, yes and we’re very excited about it, very excited,” Perry told E! News when asked about the pregnancy at the New York premiere of Gone Girl on Friday. And it looks like he’ll be entering fatherhood very soon, because a source has told E! News that Bekele is seven or eight months along. News of their impending parenthood was first (kind of) revealed at Perry’s »
Ben Affleck has a good excuse for missing George Clooney’s wedding!The hunky star stopped by “Today” on Monday, where he revealed why he wasn’t at the actor’s star-studded celebration over the weekend in Venice, Italy.”Some of us have to work, but it sounded like it went very well,” he told Matt Lauer.While Clooney was exchanging vows with his beautiful bride Amal Alamuddin, Affleck was hard at work promoting his highly-anticipated film adaptation of Gillian Flynn’s novel “Gone Girl.”    Ben plays Nick Dunne in the movie, a man who faces accusations that he killed his own wife after she goes missing. So, can he relate to the role? “I can definitely identify with the idea of, like, looking at myself through the prism of some media — whether it’s a tabloid or a television show, whatever — and not recognizing myself at all,” he explains.Check out the »

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Watch Más negro que la noche Megashare La historia original  tiene elementos típicos del terror que funcionan muy bien: un espíritu que busca vengarse, una casa tétrica, y el gato negro, un elemento clásico debido a su vinculación con la brujería y el cuento de Poe; y es sencilla: una vez muerto el gato, el espíritu de la tía regresa para vengarse de quienes mataron a su querido compañero.

Por otro lado, la historia del remake tiene sustos predecibles e incongruencias en la historia. Primero, el grupo de chicas que se muda a la casa: Greta la protagonista, una española -que la verdad no influía saber su nacionalidad realmente- que sólo busca acostarse con otros, drogarse y demás, aquella que es un poco más inocente y hasta un hurón tiene de mascota, y la SMAPS -Super Mejor Amiga Por Siempre- que más adelante nos muestran quiere ser más que eso. Fueron muy superficiales, aunque incluso en la original no se profundiza tanto en ellas. La única que presenta cambios es la protagonista, en este caso, Greta.
Greta tiene un pasado en especial con la casa y su tía ya que sus padres y su hermana murieron cuando era niña, quedó a cuidado de la tía Ofelia. Este pasado NUNCA se menciona realmente cuál es, sólo dicen que su antigua habitación está cerrada por órdenes de la tía. Además, Greta tiene la fantástica y original capacidad de ver a su hermana muerta, la cual se le aparece en momentos decisivos para ella, en este caso para avisarle que corre peligro -como si los ruidos y ya más que obvias apariciones no hubieran sido suficientes para adivinarlo-. Completamente innecesario.

Innecesaria también es la insinuación de la mejor amiga. ¿En serio era relevante la escena en que observa a la protagonista teniendo relaciones con su novio -que es su hermano-? Al ver esta escena creí pasaría al final algo a lo Haute Tension, pero no fue así, y no aportó nada a la película.

Otro elemento sin sentido es el pasado entre la casa y la tía, un secreto que sale a la luz cuando el espíritu de ésta comienza a apoderarse de Greta, dando lugar a una especie de desenlace visto en películas como Amityville Horror, y además, dando a entender que al final, Becker es en realidad una especie de espíritu que puede habitar en cualquier otro gato negro.
En el caso de los sustos predecibles, esto se debió, en mi opinión, al abuso de la banda sonora, pues siempre trataban de mantener al público en tensión cuando al final sólo terminaba fastidioso, además de que estas escenas se resumían en los jumpscares que te suelen aparecer en internet.

Así que ahí lo tienen, hay más cosas sobre las cuales quejarse, pero esto quedaría kilométrico, ustedes deciden si verla o no, con el único punto a favor para muchos de ser la primera cinta mexicana en 3D que no es animada, que espero siga desarrollándose. Quejas y comentarios, háganmelos saber.

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A lady vanishes and is soon presumed dead, but it’s her marriage that winds up on the autopsy table in “Gone Girl,” David Fincher’s intricate and richly satisfying adaptation of Gillian Flynn’s 2012 mystery novel. Surgically precise, grimly funny and entirely mesmerizing over the course of its swift 149-minute running time, this taut yet expansive psychological thriller represents an exceptional pairing of filmmaker and material, fully expressing Fincher’s cynicism about the information age and his abiding fascination with the terror and violence lurking beneath the surfaces of contemporary American life. Graced with a mordant wit as dry and chilled as a good Chablis, as well as outstanding performances from Ben Affleck and a revelatory Rosamund Pike, Fox’s Oct. 3 wide release should push past its preordained Oscar-contender status to galvanize the mainstream.

After the perceived commercial disappointment of “The Girl With the Dragon Tattoo” (2011), despite an eventual worldwide haul of more than $230 million, Fincher’s latest R-rated, two-and-a-half-hour screen version of a phenomenally successful potboiler will have an easier time translating its considerable pedigree, critical plaudits and awards-season hype into must-see status. It helps that the director is working on a significantly lower budget this time around (about $50 million), from a novel that has neither steeped too long in the public consciousness nor spawned any prior movies. It also helps that “Gone Girl,” unlike “Dragon Tattoo,” registers as more than just a technically immaculate, dramatically superfluous exercise in style.

Making an impressive screenwriting debut (with adaptations of her two other novels in the works), Flynn has ruthlessly streamlined but not materially altered her story, fully retaining its bifurcated, time-shuffling structure and elaborate, spoiler-susceptible twists. (To preserve the purity of the experience, read no further.) The sheer complexity of the narrative finds an ideal interpreter in Fincher, who boasts one of cinema’s great forensic minds, and who dissects the marriage of Nick and Amy Dunne (Affleck and Pike) with the same clinical precision and eye for minutiae he wielded in his serial-killer procedurals “Seven” and “Zodiac.” Together, he and Flynn spin this study of a troubled relationship into an extreme portrait of matrimonial hell, as well as a stark metaphor for just how little we may know or trust our so-called better halves.

Employing a quick still-shot montage to capture the well-kept lawns and empty storefronts of North Carthage, a sleepy Missouri town hit hard by the 2008 financial crisis, “Gone Girl” opens on the morning of the Dunnes’ fifth wedding anniversary, the same morning Amy inexplicably disappears from their home. Although Nick claims to have no idea what’s happened to his wife, it takes him little time to rouse the suspicions of Det. Rhonda Boney (Kim Dickens), whose thorough sweep of the premises and dogged investigation of his personal life yield considerable evidence that the Dunnes’ marriage, like their finances, has fallen on tough times.

As the case against Nick begins to mount, his seemingly insufficient displays of grief make him an easy target for professional witch hunters like Ellen Abbott (Missi Pyle), a Nancy Grace-like cable harridan who leads the charge against him. It’s not long before Nick is being coached by not only his tough-but-loyal twin sister, Margo (Carrie Coon), but also a high-powered defense attorney, Tanner Bolt (Tyler Perry). Among other things, “Gone Girl” functions as a wickedly entertaining satire of our scandal-obsessed, trash-TV-addicted media culture; this is a movie as conversant with the tawdry true-crime sagas of Scott Peterson and Casey Anthony as it is with classic thrillers of domestic entrapment like “Rebecca,” “Diabolique,” “Rosemary’s Baby” and “Fatal Attraction.”

Through it all, the missing Mrs. Dunne remains a strong, insistent screen presence, popping up in regular flashbacks to her earlier, happier days in New York, where this brainy and beautiful young woman led a life of luxury, sophistication and modest celebrity. The full arc of her relationship with Nick, a working-class Midwesterner, comes into focus: their blissful first encounter and marriage in Manhattan; the slow draining of their resources, exacerbated by their layoffs from their writing jobs; and their eventual relocation to Nick’s Missouri hometown, where he sinks into laziness and despair, leaving Amy trapped in Nowheresville with a man who has lost all motivation to make her happy. Whispers of domestic violence, spousal neglect and infidelity emerge, and other suspicious figures flit into the frame, including Desi Collings (Neil Patrick Harris), a dapper ex-boyfriend of Amy’s, and Noelle Hawthorne (Casey Wilson), her meddlesome neighborhood pal.

It soon becomes clear that the central mystery of “Gone Girl” will hinge not on what happened to Amy, but rather on who she and Nick really are, and what brought them to this fateful point in their marriage — a question that the two leads’ initially poker-faced performances are in no hurry to answer. Whether it’s darting between past and present, or juxtaposing Amy’s cryptic diary entries with the handwritten clues she left behind as part of a fifth-anniversary “treasure hunt” for Nick, Flynn’s screenplay has an unusual ability to keep the story moving on multiple levels, commanding the viewer’s attention with nary an act of explicit violence for most of the film’s runtime. And when “Gone Girl” springs the first of several game-changing reversals around the halfway point, the pleasure stems less from shock value (negligible for those who’ve read the book) than from the sheer delight the filmmakers seem to take in pulling us deeper into their labyrinth.

Fincher is by now well versed in the art of misdirection, and his control of this material is assured and absolute. This is hardly the first time he’s forced us to question what we’re seeing and through whose eyes we’re seeing it (“Fight Club”), or examined the media’s tendency to distort and amplify paranoia (“Zodiac”), or juggled parallel time frames and dueling perspectives so as to complicate our sense of the truth (“The Social Network”). But what makes “Gone Girl” so particularly potent — and such an appropriate match for this filmmaker’s icy view of the human condition — is its deliciously cynical attitude toward the relationship at its core; its sly awareness of the thin line between love and hate, happiness and misery; and its skill at laying bare the cruel, manipulative behavioral patterns that spouses can lapse into over time.

Likely to elicit uncomfortable chuckles of recognition from women and men alike, the film views marriage as a performance of sorts, a contract under which husband and wife agree to a certain measure of pretense. The need to perform, privately as well as publicly, becomes quite literal in Nick and Amy’s case, and “Gone Girl” finally pushes this premise into a realm of nightmarish Grand Guignol absurdity. As it reaches a denouement that stays completely faithful to the novel’s wrap-up (early reports to the contrary), we’re left to entertain the notion that we may never know the whole truth about the person to whom we’ve said “I do” — and indeed, we’re probably better off not knowing.

Affleck has done some of his finest screen work playing men of power and privilege suddenly brought low by fate (George Reeves in “Hollywoodland,” a laid-off executive in “The Company Men”), and he’s perfectly cast as Nick Dunne, bringing just the right golden-boy-gone-to-seed air to a character who is slowly deprived of his dignity and privacy, inch by cruel inch. Often unfairly criticized early in his career for seeming smug, vain and inauthentic onscreen, Affleck is uniquely suited to the role of a man facing those very charges from a fickle and demanding public; it’s a tricky turn, requiring a measure of careful underplaying and emotional aloofness, and he nails it completely.

Still, as its title suggests, “Gone Girl” belongs to its leading lady. Pike is the sort of elegantly composed blonde beauty with whom Hitchcock would have had a field day, and some may well quibble that the actress’s cool British hauteur doesn’t fully capture Amy’s America’s-sweetheart side. Yet as evidenced by her years of solid supporting work, she also possesses the sort of ferocious charisma that magnetizes the screen, and it’s a thrill to watch her fully embrace the showiest, most substantial role of her career. Hers is the low, seductive voice we hear coaxing us through the story’s early passages, and hers is the character who ultimately exhibits the most dynamic range: In any given scene, her Amy can seem vulnerable, aggrieved, calculating, heroic, overmatched, viperous and terrifying.

Flynn’s novel has drawn criticism in some quarters for its alleged misogyny, a highly debatable charge that is largely neutralized here by the atmosphere of gender-blind misanthropy that pervades much of the director’s work. And in the end, Pike’s performance is too singular and vivid to be reduced to simplistic terms of degradation or empowerment; suffice to say that Amy Dunne earns her place alongside Mark Zuckerberg and Lisbeth Salander in Fincher’s gallery of pitiable-yet-monstrous protagonists, whose refusal to beg for the audience’s sympathy is exactly what makes them such undeniable objects of fascination.

The outstanding leads aside, nearly every scene of “Gone Girl” is dotted with terrific supporting players, all of whom fit seamlessly into its broad yet highly specific snapshot of post-recession American life — a portrait that stretches from a Manhattan literary enclave to a cabin hideaway in the Ozarks. Perry and Harris play expertly against type as the media-savvy lawyer and the creepy ex-boyfriend, respectively, while Pyle and Sela A. Ward give sharp turns as two rather different TV personalities who play their parts in spinning the Dunne saga for the outside world. David Clennon and especially Lisa Banes are the very picture of WASP entitlement as Amy’s socialite parents, while Dickens and Coon inject a contrasting note of blue-collar dependability as two women who struggle, not always easily, to give Nick a fair hearing.

As ever, Fincher’s behind-the-scenes collaborators turn in work of an exceptionally high standard. His camera unerringly well placed in every scene, d.p. Jeff Cronenweth brings a drab, underlit look to the Dunnes’ McMansion, the police station and other North Carthage locations (actually Cape Girardeau, Mo.), suitably nondescript in Donald Graham Burt’s production design. Trent Reznor and Atticus Ross, whose moody electronic compositions have become synonymous with the director’s work, once again devise a soundscape that all but pulses with dread, this time by lacing more traditional orchestral fare with their trademark synths.

Working without his usual partner Angus Wall (with whom he won Oscars for “The Social Network” and “The Girl With the Dragon Tattoo”), editor Kirk Baxter cuts the picture to within an inch of its life while still allowing individual scenes and the overall structure to breathe; this is a movie you sink into even when you’re on the edge of your seat. Particularly fraught, violent moments are heightened by quick fade-ins and fade-outs, a hallucinatory effect that registers as palpably as a shudder.

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