Three happy marriages, beginning to crack; three dissatisfied blondes; and, crawling out from the cracks, the thought of violent crime. Such is the substance of three new films, all derived from works by popular authors. The longest is “Gone Girl,” adapted by Gillian Flynn from her own novel; the most nattily dressed is “The Two Faces of January,” taken from Patricia Highsmith; and last, courtesy of Georges Simenon, comes “The Blue Room,” the Frenchest of the three, so much so that the plot relies on confiture de prunes. 
 
 “Gone Girl,” directed by David Fincher, starts with Nick (Ben Affleck)—in his own words, “a corn-fed, salt-of-the-earth Missouri boy.” He used to live in New York and write for magazines, but the work dried up and he returned home, to the uneventful town of North Carthage, with his wife, Amy (Rosamund Pike). According to your point of view (and the film is all about viewpoints, and the urge to shuffle them around), Amy is one or more of the following: the inspiration for the “Amazing Amy” series of children’s books, written by her parents; a flat-out dazzler, too cool for the neighborhood; a rich kid, spawned by a snotty family; the original desperate housewife, becalmed and unadored; or a heap of trouble—the Clytemnestra of the Midwest. Oh, and another thing. She may be dead. 
 
 Nick owns a bar with his twin sister, Margo (Carrie Coon), and he stops there one morning for an early Scotch. He then drives home to find the front door open, a glass table smashed, and no sign of his wife. Their cat is a witness, but, if it knows anything, it’s not coughing up. The police arrive, and Detective Boney (Kim Dickens) declares a missing-persons case; before long, Nick is knee-deep in press conferences, candlelit vigils, and public appeals, flashing a polite, reluctant grin that is parsed, by tabloids and TV hosts, as proof of guilt. (You can’t blame them. The Affleck smile, from the dawn of his career, has looked more creepy than consolatory—softening that firm, all-American jaw but never quite reaching the eyes.) Suddenly, after an hour, we flip to Amy, and to her version of what happened—so different, and so close to wacko, that it seems like another story altogether. I would happily unveil the rest of it, but, in deference to the twenty-one people who have yet to read the novel, I will say nothing more without a lawyer present. 
 
 At first blush, “Gone Girl” is natural Fincherland. Not geographically; he seems less absorbed in North Carthage, described by Amy as “the navel of the country,” than he was in the California of “Zodiac” or the Harvard of “The Social Network.” Those are his masterpieces: the two movies that I can’t not watch when they turn up on TV, and the two occasions on which his pedantry and his paranoia have fused together, engrossing us in a crazed aggregation of detail. Nothing could equip him better for the coiled and clustered goings on in the new film, and, for good measure, he has hired Trent Reznor and Atticus Ross, whom he last used for “The Girl with the Dragon Tattoo,” to compose the score. They don’t let him down. “Gone Girl” boasts one major act of savagery, drenched in a downpour of blood, and what we hear during it sounds like the wah-wah pedal of Satan. So why doesn’t the movie claw us as “The Social Network” did? Who could have predicted that a film about murder, betrayal, and deception would be less exciting than a film about a Web site? 
 
 The glum fact is that “Gone Girl” lacks clout where it needs it most, at its core. We are accustomed to Fincher’s heroes being as obsessively smart as he is, if lacking his overarching patience, whereas Nick remains, to put it gently, a lunkhead. Amy has twice the brain, and ten times the cunning, but, despite the best efforts of Rosamund Pike, her character, onscreen as on the page, feels cooked up rather than lived in. That can work on film, as shown by another beauty, Gene Tierney, in “Laura” and “Leave Her to Heaven,” but the scheming of Tierney’s heroines was matched by a rare, ornate febrility in the movies themselves. Fincher’s method, on the other hand, is dogged and downbeat, so that Amy sticks out like a cartoon in a newsreel. (One expected the same of the title character in “The Girl with the Dragon Tattoo,” who was equally extreme, but somehow Rooney Mara gave her life—all drilled intensity where Pike offers elegant drift.) “Gone Girl” is meant to inspire debates about whether Amy is victimized or vengeful, and whether Nick deserves everything he gets, but, really, who cares? All I could think of was the verdict of Samuel Butler on Thomas Carlyle: “It was very good of God to let Carlyle and Mrs. Carlyle marry one another, and so make only two people miserable and not four.” Or, in the words of Tanner Bolt (Tyler Perry), Nick’s unflappable attorney: “You two are the most fucked-up people I have ever met, and I specialize in fucked-up people.” 
 
 Perry has a grand time. His wave to the press corps, camped out on Nick’s sidewalk, is a cool mixture of dismissal and salute. He knows that our attention is straying from the main couple toward the outlying figures: Tanner himself, Detective Boney, and, best of all, Margo—a fine performance, both grounded and wounded, from Carrie Coon. Against that, we have Desi (Neil Patrick Harris), a wealthy ex of Amy’s, wandering in as if from another film, and eating up the final slice of the action with a silly Gothic subplot. It comes straight from the novel, and you can picture the outcry if Fincher had chopped or changed it, but so what? A director’s task is not to suck up to readers, or to flatter his source, but to imagine it afresh, as film, while seizing on those aspects that matter to him most. What grabs Fincher about “Gone Girl,” I suspect, is not the mystery in Missouri but the sight of a media wolf pack in full cry. Hence the time that he devotes to two cable-TV hosts, played by Sela Ward and Missi Pyle, who rifle through Nick’s privacy, and his state of mind, in their lust for a story. Fincher is right: these days they are the story, and I wish that he would tell it again from their angle, through the eyes of bloggers, and via the phones of the people we see laughing outside Nick’s bar, taking selfies at a hot spot of fame. So, “Gone Girl Redux”: the campaign starts here. ||||| Even with the well-established praise for director David Fincher as a master filmmaker — his movies lushly drenched in shadow, his capacity for tough stuff matched only by his care in presentation — it’s easy to forget or overlook his sense of humor, the spoonful of sugar that helps the malevolence go down in his films. 
 
 At his best, Fincher has a sense of humor that not only cuts through the darkness but actually contrasts it to significant effect. After the dour, sour, sadistic Scandanavian misfire of “The Girl With the Dragon Tattoo,” it’s a pleasure to note that Fincher’s latest adaptation, of Gillian Flynn’s best-selling novel of the same name, is both wicked and wickedly fun. 
 
 Not only brutal but also brutally funny, “Gone Girl” mixes top-notch suspenseful storytelling with the kind of razor-edged wit that slashes so quick and clean you’re still watching the blade go past before you notice you’re bleeding. 
 
 See video: New ‘Gone Girl’ Trailer Suggests That Ben Affleck Murdered His Wife (Video) 
 
 Like some mix of “Scenes from a Marriage” and “Ace in The Hole” as shot by Michael Mann with a Hitchcock Blonde to kill (or die) for in the lead, “Gone Girl” tells the story of Nick (Ben Affleck) and Amy Dunne (Rosamund Pike). The film begins in New Carthage, Mo., on their fifth anniversary; Nick runs a few errands and blows off some steam, returning home to find an empty house, an upended coffee table shattered in the living room, and no sign of Amy. 
 
 When the cops (played by the superb Kim Dickens and a mostly silent but excellent Patrick Fugit) arrive, it’s clear there’s been a struggle inside the Dunne’s house; as Nick and Amy narrate their marriage to us and the police investigate an ever-increasing number of clues, though, it’s clear there were signs of struggle inside the Dunne’s marriage as well. 
 
 Made up of police inquiries and diary entries, love stories and other fake-outs, “Gone Girl” is, in no small part, a story about storytelling and the difference between perception and reality, with comforting tales interrupted by the low, ominous thud of the metaphorical other shoe dropping. Amy’s mom and dad are best-selling authors of children’s books, with their series “Amazing Amy” an improved version of their daughter’s life; Nick and Amy’s American dream marriage with the big house and the big love looks is utterly perfect until you shake it and the rot comes spilling out. 
 
 Also read: Tyler Perry’s ‘For Better or Worse’ Fall Premiere Draws Best Ratings Since OWN Series Debut 
 
 And when upsetting revelations come out in the case, celebrity defense attorney Tanner Bolt (Tyler Perry, a natural as a hearty, likable cynic with great media presence) smoothly states how “We’ll have to … realign the public’s perception …” 
 
 Flynn’s script is loaded with nicely-tuned observations, not just about the rules and rituals of the modern American marriage but also about a media that shrieks speculation more than it speaks the truth and worries about slogans more than facts. The author’s clever, cruel and cool work also gives Pike the role of a lifetime in the shining, secretive Amy, while still making her human and comprehensible. Affleck, who’s personally had to endure a level of media scrutiny that makes a colonoscopy look dignified, brings much of that history to Nick’s affability and desire to please. When he needs to play the part, Nick does, but he’s not as smart as he thinks he is. Both performers are brilliant. 
 
 Also read: Ben Affleck Admits to Being Really Good at Counting Cards in Blackjack 
 
 With its shifting perspectives and timelines, its constant conflict between what’s said and what’s truly seen, “Gone Girl” is clean, clear, and perfectly constructed. Cinematographer Jeff Cronenweth and editor Jeff Baxter, both regular Fincher collaborators, deliver the kind of work that looks easy but, assuredly and on reflection, is decidedly not. The score, by Trent Reznor and Atticus Ross, is a more mixed proposition, effective in the places it works and distracting on several occasions where it doesn’t. 
 
 The supporting cast is a thing of wonder — there are familiar faces like Dickens, Fugit, and Perry all pushed to greatness, with Missi Pyle perfect as the film’s version of harridan-for-justice Nancy Grace, Neil Patrick Harris elegantly worrisome as on old suitor of Amy’s, and Carrie Coon (“The Leftovers”) a revelation as Nick’s loving, tough sister Margot. 
 
 Also read: 7 Breakout Movie Stars of Fall 2014 – From a ‘Gone Girl’ to a ‘Maze Runner’ 
 
 The best Hitchcock films struck a balance between elegance and violence, a peculiar mix of champagne fizz and spilled crimson blood; “Gone Girl,” with its giddy revelations and grim-grin reversals incorporating ugly facts and uglier fictions, fits perfectly into a modernized version of that superb tradition. 
 
 “Gone Girl” portrays marriage not just as warfare by other means but as many different kinds of battle — class conflict, sexual gamesmanship, wrangling over money, fighting over the future — with plenty of blood spilled. That’s part of what makes it as damned good as it is; “Gone Girl” is that rare entertainment that rewards your intelligence instead of insulting it, that rare thriller interested in emotional wounds as much as physical ones. 
 
 “Gone Girl” will earn plenty of loud shouts of applause, awed sounds of surprise, and shocked laughter, but what makes it worthy of them is all the hushed, uneasy conversations it’s guaranteed to inspire in the long, unsettled silence to come after. ||||| 'Gone Girl’ review: thrilling until it’s not 
 
 
 
 
 
 
 
 
 
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 Photo: Merrick Morton / Associated Press Image 1 of / 7 Caption Close Image 1 of 7 Ben Affleck stars as Nick, who beomes a suspect when his wife goes missing in “Gone Girl.” Ben Affleck stars as Nick, who beomes a suspect when his wife goes missing in “Gone Girl.” Photo: Merrick Morton / Associated Press Image 2 of 7 In this image released by 20th Century Fox, Rosamund Pike appears in a scene from "Gone Girl." The film, based on the best-selling novel, will release on Oct. 3. (AP Photo/20th Century Fox, Merrick Morton) In this image released by 20th Century Fox, Rosamund Pike appears in a scene from "Gone Girl." The film, based on the best-selling novel, will release on Oct. 3. (AP Photo/20th Century Fox, Merrick Morton) Photo: Merrick Morton / Associated Press Image 3 of 7 Nick (Ben Affleck, left) confers with his lawyer (Tyler Perry) about his missing wife in “Gone Girl,” based on the best-selling novel by Gillian Flynn. Nick (Ben Affleck, left) confers with his lawyer (Tyler Perry) about his missing wife in “Gone Girl,” based on the best-selling novel by Gillian Flynn. Photo: Merrick Morton / Associated Press Image 4 of 7 In this image released by 20th Century Fox, Patrick Fugit, left, and Kim Dickens appear in a scene from "Gone Girl." The film, based on the best-selling novel, will release on Oct. 3. (AP Photo/20th Century Fox, Merrick Morton) less In this image released by 20th Century Fox, Patrick Fugit, left, and Kim Dickens appear in a scene from "Gone Girl." The film, based on the best-selling novel, will release on Oct. 3. (AP Photo/20th Century ... more Photo: Merrick Morton, Associated Press Image 5 of 7 Image 6 of 7 This image released by 20th Century Fox shows, from left, Ben Affleck, Patrick Fugit, David Clennon, Lisa Barnes and Kim Dickens in a scene from "Gone Girl." The film, based on the best-selling novel, will release on Oct. 3. (AP Photo/20th Century Fox, Merrick Morton) less This image released by 20th Century Fox shows, from left, Ben Affleck, Patrick Fugit, David Clennon, Lisa Barnes and Kim Dickens in a scene from "Gone Girl." The film, based on the best-selling novel, will ... more Photo: Merrick Morton, Associated Press Image 7 of 7 'Gone Girl’ review: thrilling until it’s not 1 / 7 Back to Gallery 
 
 “Gone Girl” is a great thriller until it stops being one, about 20 minutes before the finish. Until then it’s brilliant, not just a triumph of story but of strategy, a movie that keeps the audience grasping and reaching in all the wrong directions, while consistently delivering something a little better, a little crazier and a little more disturbing than expected. 
 
 And then before it’s over, it all kind of goes ... not to hell — it’s not as bad as that — but to purgatory, or limbo. This most satisfying of films turns dissatisfying. This Swiss watch of storytelling turns into a bad digital clock circa 1986, flashing the wrong numbers. If only the dip in quality came in the middle, or even at the beginning, we might still be able to class “Gone Girl” as among the year's best. But when a movie, in its final minutes, forsakes its own logic and embraces false cleverness, that can’t be ignored. 
 
 “Gone Girl” is based on Gillian Flynn’s enormously popular novel of the same name, and the novel’s very popularity might be the main problem here. There are things that can work in print that just can’t be made to work onscreen. Yet when it’s an acclaimed story that half the audience will know going in, no broad changes can be considered, even ones for the better. 
 
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 Does this all sound vague? Alas, we’re going to have to hover in the Land of Vague in discussing “Gone Girl,” because this is just one of those movies: Give away too much of the story, and you’ve just killed about three-quarters of its appeal. 
 
 Story of marriage 
 
 So we’ll stay general. “Gone Girl” is the story of a marriage, as well as a pretty straight-faced satire — or is it an indictment? — of the way gossip is passed off as news on cable television. Ben Affleck plays Nick, a guy with a cloud of sadness around him, who goes home to find that his wife, Amy (Rosamund Pike), is missing and that there are signs of a struggle. He calls the police, who, being cops, start suspecting him of murder. But who knows? This time they could be right. 
 
 For the first hour, “Gone Girl” takes place on two tracks. It follows Nick in the present day, as he becomes the center of both the investigation and of the media’s piranha-like lust. And it goes back in time, telling the tale of Nick and Amy’s courtship and marriage as related (and narrated) by Amy in her diary. 
 
 Juicy roles 
 
 Affleck has had good roles before, but I don’t think he has ever had one that capitalizes on as much of what he can do onscreen. He is a big slab of a guy, but his aura is not of strength, but of uncertainty, perhaps moral weakness. He is instantly likable and then occasionally, upon reflection, dislikable. He has a blitheness that is either amusing or engaging or off-putting, depending on the viewer's angle. He can just as easily charm the world as irritate millions — he has literally done both, in real life — so anybody’s reaction to him is easy to believe, so long as it's extreme. 
 
 Rosamund Pike will come as more of a surprise. Her previous roles have hinted at her intelligence and ability — she even made audiences believe she was in love with a cigar-chomping Paul Giamatti in “Barney’s Version” — but this is the juiciest role she has had to date, and she makes a meal of it. Everyone who sees “Gone Girl” will walk out raving about Rosamund Pike. 
 
 Director David Fincher lands a tone for “Gone Girl” that’s broad and precise enough to encourage a series of witty performances within the thriller framework. The story may be the star here, but everyone is vivid within it, not just the principals, but Kim Dickens as a detective, Tyler Perry as a hotshot lawyer and Carrie Coon as Affleck's twin sister. 
 
 And then it all sort of ... “implodes” would be too strong a word. Perhaps “frays?” “Becomes dented?” “Loses its glow?” But that’s all in the last 20 minutes. Try to put it out of your mind for those first two hours. 
 
 Mick LaSalle is The Chronicle’s movie critic. E-mail: mlasalle@sfchronicle.com Twitter: @micklasalle 
 
 Gone Girl 
 
 Crime thriller. Starring Ben Affleck and Rosamund Pike. Directed by David Fincher. (R. 148 minutes.)
– "Chilling," "unsettling," and "manipulative" is what critics are saying about Gone Girl, starring Ben Affleck and Rosamund Pike as Nick and Amy, a husband and wife trying to make it in a small town in Missouri—just the type of descriptors you probably want for a mystery-thriller about what happens when Nick becomes a suspect in Amy's sudden disappearance. Here's what the critics have to say: For Mick LaSalle at the San Francisco Chronicle, the movie starts off "brilliant, not just a triumph of story but of strategy," and maintains that momentum throughout … until the last 20 minutes. That's when LaSalle says the movie "frays"—a "Swiss watch of storytelling [that] turns into a bad digital clock circa 1986, flashing the wrong numbers." He praises the acting, especially that of Pike, proclaiming that "everyone who sees Gone Girl will walk out raving about" her. Manohla Dargis is similarly thrown off by the shift midway through the film, writing for the New York Times that "by the movie's second half, you may wish that Amy would stay gone." Although Dargis concedes that David "Fincher's compositions, camera work, and cutting are, as always, superbly controlled," she adds that the film "plays like a queasily, at times gleefully, funny horror movie about a modern marriage." But evenutally, "dread descends like winter shadows, darkening the movie's tone and visuals until it's snuffed out all the light, air, and nuance." James Rocchi writes at The Wrap that Fincher's humor is "the spoonful of sugar that helps the malevolence go down in his films," and Gone Girl is no exception, with "top-notch suspenseful storytelling" and "razor-edged wit." He also lauds the supporting cast (including Neil Patrick Harris and Tyler Perry) as "a thing of wonder" and praises the movie overall as "that rare entertainment that rewards your intelligence instead of insulting it, that rare thriller interested in emotional wounds as much as physical ones." But Gone Girl isn't as alluring as Fincher's The Social Network, laments Anthony Lane in the New Yorker, asking: "Who could have predicted that a film about murder, betrayal, and deception would be less exciting than a film about a website?" The film that Lane at first calls "natural Fincherland" soon devolves into a movie that "lacks clout." He also can't help but note that Gone Girl is "meant to inspire debates about whether Amy is victimized or vengeful, and whether Nick deserves everything he gets, but, really, who cares?"