At RogerEbert.com, Matt Zoller Seitz notes: “What of Gone Girl as a parable of gender relations, one that eventually takes an ugly misogynist turn? I’ve heard these charges leveled, and they have merit. You’ll understand what I mean once you’ve seen the movie. At the same time, though, as we evaluate those complaints, we owe it to Flynn, Fincher and everyone involved to take into account what sort of film this is, what mode it’s operating in, and how transparent it is about what it’s doing, how it’s doing it, and why.”

And at GQ Lindy West writes: “Gone Girl is a struggle….My heart says it’s pulpy and fun–all my heart needs are some tasty waves and a cool buzz–but my brain can’t stop forecasting all the ways that Gone Girl‘s pitch-black, gendered fucked-upedness is going to echo back at me (and other women who write critically about gender, and even women who don’t) from the internet, forever. Because beyond being a mostly tight, elegant, gleefully bananas thriller–the mechanics of which you can read about in Tom Carson’s excellent review–Gone Girl is a misogynist’s full-body, quaking firehose of a wet dream.”