Between 1968 and 1983, a San Francisco cartoonist becomes an amateur detective obsessed with tracking down the Zodiac Killer, an unidentified individual who terrorizes Northern California wi... Read allBetween 1968 and 1983, 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.Between 1968 and 1983, 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.
- Awards
- 3 wins & 71 nominations
June Diane Raphael
- Mrs. Toschi
- (as June Raphael)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe murder victims' costumes were meticulously recreated from forensic evidence that was lent to the production.
- Goofs(at around 52 mins) One of the books Robert Graysmith has in 1969 has a barcode on the back. Barcodes did not even exist in any stores until the summer of 1974, and most items did not contain barcodes for several years after that.
- Quotes
Arthur Leigh Allen: I am not the Zodiac. And if I was, I certainly wouldn't tell you.
- Crazy creditsThe end text reads as follows: Following Mike Mageau's identification of Arthur Leigh Allen, authorities scheduled a meeting to discuss charging him with the murders. Allen suffered a fatal heart attack before this meeting could take place. In 2002, a partial DNA profile, that did not match Allen, was developed from a 33 year-old Zodiac envelope. Investigators in San Francisco and Vallejo refused to rule out Allen as a suspect on the basis of this test. In 2004, the San Francisco Police Department deactivated their Zodiac investigation. Today, the case remains open in Napa County, Solano County, and in the city of Vallejo, where Arthur Leigh Allen is still the prime and only suspect. Inspector David Toschi retired from the San Francisco Police Department in 1989. He was cleared of all charges that he wrote the 1978 Zodiac letter. Paul Avery passed away on December 10, 2000 of pulmonary emphysema. He was 66. His Ashes were scattered by his family in the San Francisco Bay. Robert Graysmith lives in San Francisco and enjoys a healthy relationship with his children. He claims he has not received a single anonymous call since Allen's death.
- Alternate versionsThe director's cut contains approximately 5 minutes of new footage, including:
- Melvin Belli (Brian Cox) talks about his Safari trip (when the Zodiac letter came to his house)
- Toschi (Mark Ruffalo) introduces himself to the Riverside Police Chief
- A new scene between Graysmith (Jake Gyllenhaal) and Avery (Robert Downey Jr.)
- A three-way conversation laying Leigh as a suspect to get a search warrant
- Extended audio montage (over a black screen)
- Plus extra bits of dialogue
- ConnectionsFeatured in Siskel & Ebert: Zodiac/Gray Matters/Wild Hogs/Smarter for 10 (2007)
Featured review
*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.
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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Details
Box office
- Budget
- $65,000,000 (estimated)
- Gross US & Canada
- $33,080,084
- Opening weekend US & Canada
- $13,395,610
- Mar 4, 2007
- Gross worldwide
- $84,786,496
- Runtime2 hours 37 minutes
- Color
- Sound mix
- Aspect ratio
- 2.39 : 1
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