In the late 1960s/early 1970s, a San Francisco cartoonist becomes an amateur detective obsessed with tracking down the Zodiac Killer, an unidentified individual who terrorizes Northern California with a killing spree.
Harvard student Mark Zuckerberg creates the social networking site. That would become known as Facebook but is later sued by two brothers who claimed he stole their idea, and the co-founder who was later squeezed out of the business.
A serial killer in the San Francisco Bay Area taunts police with his letters and cryptic messages. We follow the investigators and reporters in this lightly fictionalized account of the true 1970's case as they search for the murderer, becoming obsessed with the case. Based on Robert Graysmith's book, the movie's focus is the lives and careers of the detectives and newspaper people.Written by
(At around one hour and thirty-five minutes) Captain Lee tells Toschi to take some time off and "go to Candlestick". Candlestick Park was the home of the San Francisco Giants from its construction in 1960 to 2000, the San Francisco 49ers from 1971 to 2013, and the Oakland Raiders in 1961. In 2014, the 49ers moved to their new home at Levi's Stadium in Santa Clara and Candlestick Park was demolished in 2015. See more »
(at 00:36:00) Two books on Robert Graysmith's bookshelf were published after 1969, the year in which the scene they are in takes place: Curtain and The Mysterious Affair at Styles (1975) by Agatha Christie, and Drawing: Seeing and Observation (1973) by Ian Simpson. See more »
The end credits of the Director's Cut has a more detailed final cast listing. It properly credits many of the actors who were inexplicably left uncredited in the theatrical cut. However, Ione Skye's cameo as Kathleen Johns remains uncredited even in the Director's Cut. See more »
(I Never Promised You A) Rose Garden
Written by Joe South
Performed by Lynn Anderson
Courtesy of Columbia Records/SONY BMG MUSIC ENTERTAINMENT (Nashville)
By Arrangement with SONY BMG MUSIC ENTERTAINMENT See more »
As interesting and as tedious as a thirty-year unsolved case
*This comment may contain spoilers, but I tried to be as vague as possible, and I think that this movie actually improves if you more or less know the ending.*
When David Fincher's ZODIAC opens with the year "1969" on the screen, a colorful wide angle shot of California, and a song from "Hair" on the soundtrack, we think we know what we are in for: an atmospheric historical epic. Then the film's first murder happens, and we are at the San Francisco chronicle with Jake Gyllenhall and Robert Downey, Jr., just recognizable enough under their period garb.
We see three other murders or almost-murders within the first 1 1/2 hours of this 2 1/2 hour movie, and they are terrifying in a way that few movie murders are: this is one of the only movies that succeeds at making you identify with the victims, and the murder scenes contain enough gore to be convincing but not so much gore that it becomes its own aesthetic, as in other Fincher films.
But ZODIAC is so long that eventually, the murders fail to keep our attention. The movie makes so many leaps through time and recounts so many investigations that lead nowhere, it is easy to forget that it began as an exciting movie.
One could easily argue that the movie has a right to be so uneventful because it is a "realistic" reflection of police procedure and of, well, reality. It is, but one can't help but think, With all the time-lapsing that goes on (it constantly jumps months ahead in the late '60s and early '70s, and then jumps from '73 to '77 to '83 to '91), why couldn't it skip more boring parts? The movie manages to be both too truncated and too thorough.
On a positive note, the digital cinematography by Harris Savides gives the film a consistently interesting look, which is something that many better movies don't have. He gives the film the signature "Fincher" look: saturated pastels in the daytime and a vague yellow-green tint at night. The movie is visually interesting without being calling too much attention to itself, but it's a shame that there's not enough to watch. The actors are sufficient, but the movie has no protagonist and we don't get to know anyone well enough - not even Robert Graysmith (Jake Gyllenhall), who becomes the de facto main character half way through.
The friendship between Graysmith and Paul Avery (Robert Downey, Jr.) - particularly a bar scene in which Graysmith introduces Avery to the merits of girly drinks - is interesting enough, but when Avery ceases to be a major character, we don't get enough of an indication that Graysmith has a life outside of his obsession with the Zodiac case. That may have been the point, but it doesn't work: there is nothing wrong with a plot that goes nowhere if the characters manage to hold our interest, but they don't hold our interest for all 2 1/2 hours, and the movie itself seems to lose interest in Graysmith towards the end. ZODIAC has no pay-off, which wouldn't be a problem if it weren't such a plot-driven film.
Still, it has its moments that nearly redeem it. It's a bit like a friend who tells long and meandering but enthusiastic stories: once you realize that his stories will always be too long, you can focus on the better parts. But his stories are still too long.
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