TV & Beyond on 2025-07-12 11:10:00

by | Jul 12, 2025 | TV & Beyond Articles | 0 comments

TV & Beyond on 2025-07-12 11:10:00

shocking plot twists and narrative turns, from the unpredictable plot of “The Game” to the famous question at the end of “Se7en.” Indeed, many of his films are psychological thrillers, but one movie stands out as the best companion to “Gone Girl.”

In “The Girl with the Dragon Tattoo,” released the year after “Gone Girl,” Rooney Mara plays Lisbeth Salander, a misanthropic hacker with a traumatic past. Lisbeth starts working with Mikael Blomkvist (Daniel Craig), a disgraced journalist trying to solve a decades-old mystery.

Like Rosamund Pike’s Amy Dunne, Lisbeth isn’t an especially likable character, but we root for her anyway. Indeed, as we get to know Lisbeth, we come to accept her violent actions. Based on the incredible book by the late Stieg Larsson, the movie is filled with intriguing revelations that keep you on the edge of your seat. Add to that a complex, puzzling relationship between the two leads, and you’ve got a winner.

Basic Instinct

Sharon Stone in white dress and coat in an interrogation room as Catherine Tramell in Basic Instinct

TriStar Pictures

“Gone Girl” isn’t quite an erotic thriller, mostly because sex isn’t central to the film, but several aspects of the story point to the influence of erotic thrillers. “Basic Instinct,” the controversial film from Paul Verhoeven, exemplifies this connection. Sharon Stone plays Catherine Tramell, a wealthy crime novelist. When one of her lovers is murdered, detective Nick Curran (Michael Douglas) takes the case. All signs point to Catherine as the murderer, but Nick still can’t (or doesn’t want to) prove that she did it.

There are some surprising twists in “Basic Instinct,” though the biggest one is rather obvious. “Basic Instinct” and “Gone Girl” mirror each other most with their female leads. Violent psychopaths who put on a good face in public (think of Amy’s “cool girl” monologue), their machinations are deliciously devious and carried out without apology. These villainous characters should be the bad guys, but their unhinged behavior is so fun to watch that it’s easy to forgive them for their sins. That’s part of the reason why Amy Dunne is one of cinema’s best villains. Making the connection even more concrete, Rosamund Pike actually studied Stone’s performance in “Basic Instinct” in preparation for playing Amy.

Vertigo

James Stewart as Scottie holding Kim Novak close in Vertigo

Universal Pictures

Sometimes called the greatest film of all time, “Vertigo” represents Alfred Hitchcock at the height of his powers. James Stewart plays Scottie, a recently retired San Francisco detective suffering from vertigo and an extreme fear of heights. An old acquaintance hires Scottie to investigate his wife, Madeleine (Kim Novak), who has been exhibiting strange behavior and may be suicidal. Upon his investigation, Scottie becomes more disoriented than he’s ever been, and the players involved are not what they seem.

Though “Vertigo” centers on a male detective, he’s surrounded by women who seem to outsmart him at every turn. In “Gone Girl,” we’re privy to both Nick (Ben Affleck) and Amy’s perspectives, but here, we only see through Scottie’s eyes. This leaves us in the dark about what’s happening behind the scenes, making the twist all the more titillating. It would be too much of a spoiler to explain the narrative connection in full, but believe us when we tell you that if you enjoy the mysteries of “Gone Girl,” “Vertigo” should be right up your alley.

Thoroughbreds

Anya Taylor-Joy and Olivia Cooke as Lily and Amanda in Thoroughbreds

Focus Features

What would you get if you combined the best parts of “Heavenly Creatures,” “Heathers,” and “American Psycho?” You’d get the 2017 film “Thoroughbreds,” directed by Cory Finley. Anya Taylor-Joy plays Lily, a rich, popular high school student with perfect grades. Olivia Cooke plays Amanda, a social outcast and Lily’s former friend.

Amanda has a mental disorder that means she doesn’t experience emotions, and she’s just been charged with animal cruelty for euthanizing her horse with a knife. When Lily and Amanda reconnect, they hatch a murderous plot that may benefit them both. As the girls’ true nature becomes apparent, we’re asked to consider which is the psychopath among them.

Like the darkly funny “Gone Girl,” the humor in “Thoroughbreds” is pitch black. Neither Lily nor Amanda display much in the way of affect, which gives their lines an air of cold-hearted camp. Indeed, the film has an icy tone that rarely dissipates, and the hardened, brutally honest dialogue recalls the sardonic wit of a film noir. Both Fincher and Finley’s films occupy the neo-noir space, and their glossy, brightly-lit exteriors belie the ugliness within.

To Die For

Nicole Kidman in yellow checkered suit as Suzanne in To Die For

Sony Pictures Releasing

Another black comedy to add to the list, Gus Van Sant’s “To Die For” bitingly satirizes fame and true crime years before the murder podcast era. Nicole Kidman plays Suzanne, a weather reporter at a local cable station. Suzanne’s dream is to become a famous TV journalist with her face on the cover of magazines. Anything that gets in the way of this dream needs to be disposed of. That includes her lazy husband, Larry (Matt Dillon), and the teenagers she seduces to do her bidding

Kidman excels in the role, as she does in dark, strange films of this nature, such as “Eyes Wide Shut” and “Dogville.” It’s clear that Suzanne’s entire life is a performance, but she moves through the world with such conviction that one suspects the farce may have become real. The humor can be cruel because Suzanne is cruel, and the film doesn’t pull punches when it comes to going all the way.

Both “To Die For” and “Gone Girl” feature unhinged blondes with sinister goals, but there is also a literal connection between the films. Rosamund Pike told Variety that Kidman’s performance in “To Die For” was one of her inspirations for shaping the character of Amy Dunne.

Serial Mom

Kathleen Turner winking as Beverly

Savoy Pictures

“Serial Mom,” John Waters’ moral murder masterpiece, cleverly upends the conventional image of suburban life and marriage, which is just one of the things it has in common with “Gone Girl.” Like “To Die For,” the film lampoons true crime culture as we watch a serial killer become a celebrity. The legendary Kathleen Turner plays Beverly Sutphin, a suburban housewife who’s so wholesome she seems plucked from the set of “Leave It to Beaver.” But Beverly has a dark side. When someone does something rude or unpleasant, Beverley can’t stand it, leading to a series of increasingly unhinged murders around town.

Turner is incredible in the film, playing Beverley with deranged glee and cheerful conviction, never dropping the simple-minded housewife act even as she plots murder. “Serial Mom” could certainly be described as a dark comedy, but Waters’ colorful images and absurdist humor mean you don’t feel bad for laughing at the bloodshed. Though Beverley and Amy Dunne have different reasons for blowing up their quiet suburban lives, the results are equally entertaining to watch.

Body Heat

William Hurt as Ned standing next to Kathleen Turner as Matty smoking a cigarette in red light in Body Heat

Warner Bros.

A decade before her deliciously devilish turn in “Serial Mom,” Kathleen Turner starred in “Body Heat,” one of the greatest achievements in the erotic thriller genre. Like the best sexy capers, “Body Heat” draws from noirs of the 1940s and 1950s, featuring a seductive, brilliant woman and a man who can’t match her game. Turner plays Matty, an ’80s bombshell and a classic femme fatale. William Hurt plays Ned, a useless lawyer. Ned meets Matty one sweaty Florida evening and immediately throws his life away.

The film hinges on Turner’s performance, and boy, does she make it work. We’re meant to believe that Ned becomes immediately obsessed with Matty the moment he meets her and hatches a plan to kill her wealthy husband only a few minutes into the film — and because Turner is so captivating and seductive, we do.

“You’re not too smart. I like that in a man,” Matty tells Nick, beautifully encapsulating their cheeky dynamic, as well as Nick and Amy’s in “Gone Girl.” Both films feature women outsmarting and betraying men just for the pleasure of it. It’s easy to root for these femme fatales.

Stoker

Mia Wasikowska aiming a rifle as India in Stoker

Searchlight Pictures

Released the same year as “Snowpiercer,” “Stoker” marks Park Chan-wook’s English language debut. Mia Wasikowska plays India Stoker, an odd 18-year-old girl living with her volatile mother, Evelyn (Nicole Kidman), following the death of her father, Richard (Dermot Mulroney). At his funeral, India meets Charlie (Matthew Goode), Richard’s long-lost brother. Charlie comes to live with India and Evelyn, but displays disturbing, malevolent behavior. Rather than being repulsed by Charlie’s sinister actions, India appears to be attracted to the violence, leading to further unrest in the house.

Kidman shines in one of her many unsettling roles, while Wasikowska and Goode fight for the title of most terrifying. The home is one of the more disturbing settings for horror movies and thrillers, and both “Gone Girl” and “Stoker” utilize a dysfunctional family structure to great effect. What if someone living in your house isn’t who you thought they were? The two films answer that question differently, but both will appeal to viewers looking for something a little freaky.

The Lost Daughter

Olivia Colman in white blouse with big sunglasses as Leda in The Lost Daughter

Netflix

Maggie Gyllenhaal chose a heady project for her directorial debut, adapting the famously anonymous author Elena Ferrante’s novel “The Lost Daughter.” Gyllenhaal’s film stars Olivia Colman as Leda, a middle-aged college professor on vacation in Greece. Leda, who behaves oddly for reasons we aren’t privy to, develops an obsession with Nina (Dakota Johnson) and her young daughter. They become friendly, but Leda’s interest in them feels almost sinister. We learn, through flashbacks that run parallel to the contemporary story, that Leda’s own experience of motherhood was difficult, and she abandoned her daughters for several years.

“The Lost Daughter” is a meandering film that doesn’t care to explain itself. Though we learn a good portion of Leda’s backstory, it doesn’t reveal why Leda acts the way she does, nor does Lena seem to understand it herself. The best mysteries and thrillers depict characters behaving strangely for reasons that aren’t entirely clear, revealing something unsettling about human nature. “The Lost Daughter” and “Gone Girl” succeed as psychological dramas precisely because the protagonists make no apologies for their alarming behavior.

Phantom Thread

Daniel Day Lewis as Reynolds Woodcock looking up over his glasses in Phantom Thread

Focus Features

Paul Thomas Anderson’s films often have a psychological element to them, from the fractured psyches of “Magnolia” to the capitalistic brain rot of “There Will Be Blood.” His 2017 film “Phantom Thread” depicts a bizarre marriage that mirrors Amy and Dunne’s unconventional union in “Gone Girl.” Daniel Day-Lewis plays Reynolds Woodcock, a famed dressmaker in 1950s London. Though a brilliant designer, Reynolds possesses a controlling and mercurial personality.

He meets Alma Elson (Vicky Krieps), a waitress, and the pair become lovers. Reynolds’ domineering personality threatens to ruin their relationship, as does the state of his fashion house. But when Alma surprises Reynold with perverse machinations of her own, their dynamic shifts.

Reynolds and Alma have a perplexing relationship, and the strange equilibrium they find wouldn’t work for anyone else in the world. The same is true for Nick and Amy in “Gone Girl,” as they snare themselves in a wicked marital game that makes sense to no one but them.

The Talented Mr. Ripley

Jude Law as Dickie leaning over and yelling at seated Matt Damon as Ripley in The Talented Mr. Ripley

Paramount Pictures

An oft-adapted author, much of Patricia Highsmith’s work explores the minds of twisted individuals. She displays this fascination best in her Ripley series, which follows the exploits of a psychopathic con man named Tom Ripley. In Anthony Minghella’s 1999 film, Matt Damon plays the title character, giving one of his greatest performances to date. In this story, Ripley is asked to travel to Italy and bring a wealthy playboy back home to his father. Instead, he ends up befrending Dickie (Jude Law) instead, and becomes accustomed to his freewheeling lifestyle.

Rickie does whatever it takes to remain in Dickie’s world, and his con becomes more elaborate — and violent — as the stakes raise. The question remains: does Ripley have a heart, or any feelings at all, or is he a wholly irredeemable character? There’s clearly something compelling about him, as Highsmith wrote five books about the man that audiences devoured.

“Gone Girl” prompts similar questions, though Amy Dunne is probably easier to root for, given the feminist anti-hero implications of the character. Why do we love such demented characters? Perhaps Gillian Flynn and Patricia Highsmith know the answer, but the mystery is part of the fun.

A Simple Favor

Anna Kendrick as Stephanie holding camera next to Blake Lively in suit as Emily in A Simple Favor

Lionsgate

The connections between “A Simple Favor” and “Gone Girl” are fairly obvious. In fact, the former film is pretty much a parody of the latter. Anna Kendrick plays Stephanie, a mommy blogger and single mother. She befriends Emily (Blake Lively), the glamorous parent of one of her son’s classmates. Stephanie and Emily’s relationship sours as Emily exposes her manipulative streak and Stephanie reveals what lies underneath her cheerful exterior. When Emily goes missing and is presumed dead, it’s up to Stephanie to find out if she’s swimming with the fishes or if her disappearance is a carefully constructed ploy.

Tonally, “A Simple Favor” and “Gone Girl” are quite different. A decadent mystery, “A Simple Favor” has a campy feel and seems to be aware of its own silliness, while “Gone Girl” is much chillier. Still, you can draw a direct line from “A Simple Favor” to “Gone Girl,” indicating just how influential Fincher’s masterpiece has become.

Wild Things

Matt Dillon as Sam with hands around Denise Richards as Kelly and Neve Campbell as Suzie holding bottle of champagne in Wild Things

Sony Pictures

If “Body Heat” and “The Last Seduction” represent the pinnacle of erotic thrillers, then “Wild Things” exists on a different scale entirely. A perhaps purposefully trashy thriller, “Wild Things” is a whole lot of fun. Denise Richards plays Kelly, a wealthy high school student who accuses her guidance counselor, Sam Lombardo (Matt Dillon), of rape. When Suzie (Neve Campbell), a goth girl from the wrong side of the tracks, makes the same accusation, Sam hires a lawyer, played by Bill Murray. Subsequently, detective Ray Duquette (Kevin Bacon) gets involved, and it all goes haywire from there.

“Wild Things” has a hilarious amount of twists, and they don’t quite have the same effect as the central twist in “Gone Girl.” But what “Wild Things” lacks in seriousness, it makes up for with delightful goofiness. There’s no reason for that titillating lesbian kiss in the pool, and Bacon’s full-frontal nudity is more of a jumpscare than anything else, but every seemingly random aspect of the film contributes to its status as a cult classic. Tonally, “Wild Things” and “Gone Girl” are on opposite sides of the thriller spectrum, but they both deliver deranged women, sleazy men, and lurid thrills.

The Last Seduction

Linda Fiorentino as Bridget sitting in bar wearing white suit and smoking while looking up at a man in The Last Seduction

October Films

John Dahl’s “The Last Seduction” is not what it seems. The 1994 film announces itself as a schlocky, made-for-TV sex film, when really, it’s one of the greatest erotic thrillers ever made. As Travis Woods writes in Bright Wall Dark Room, the movie is “pure film noir masquerading as softcore porn in order to get made for cable television,” while other films of its ilk usually employ this trick in reverse.

Linda Fiorentino (who unfortunately wasn’t eligible for an Oscar for her masterful performance, because the film initially aired on HBO) plays Bridget Gregory, a cold-blooded femme fatale of the highest order. Bridget flees New York with her husband’s money, landing in a town near Buffalo. She meets an unassuming man in a bar and makes him her next mark, convincing him to run a scam with her and eventually involving him in her web of violence.

Like Amy in “Gone Girl,” Bridget displays no remorse and wields her intelligence like a deadly weapon. All the men around her are depicted as idiots, while Bridget is always the smartest in the room. Unlike other noirs, we see the film through Bridget’s eyes and are inclined to be on her side despite her psychopathic behavior — a spell that Gillian Flynn also puts on us in her novel.

Shirley

Elisabeth Moss with cat eyed glasses and curled hair with glass of wine as Shirley Jackson in Shirley

Neon

Though technically a story about famed horror writer Shirley Jackson, Josephine Decker’s 2020 film “Shirley” doesn’t adhere to any notion of truth. Much like the inhabitants of Jackson’s stories, the characters in “Shirley” mirror existential fears and anxieties. A captivating Elizabeth Moss plays the author in middle age, living in Vermont with her professor husband, Stanley Hyman (Michael Stuhlbarg). While Shirley is working on her next masterpiece, Stanley invites a young couple, Rose (Odessa Young) and Fred (Logan Lerman), to stay at their house, disrupting her process.

What follows is a psychological drama that questions the distinction between fiction and reality, placing Shirley into one of the eerie worlds she’s so famous for conjuring. Shirley is at times domineering and mercurial in response to Rose, though their relationship grows more intimate as Shirley gets deeper into her work. Stanley and Fred’s relationship is similarly fraught, as Stanley doesn’t want his protégé to surpass him.

“Gone Girl” details the strange relational contract of marriage and the maintenance of a “happy” home, while “Shirley” ponders similar questions, albeit in a more mysterious manner. Both films propose that, beneath the hood, every marriage has its peculiar way of functioning, some of which are more shocking than others.

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