“I need to look him in the eye and I need to know that it’s him.”
Describing Fincher’s Zodiac as a serial killer thriller would be like saying 127 Hours is about a man stuck in a canyon for five days. Rather than being a spiritual sibling to 1995’s Seven, Zodiac instead takes the ultimate path of an ambiguous mystery for its journey. The time-span and investigation jumps forward very repeatedly, essentially to the point that it’s easy to become annoyed by the film’s inability to stay in one setting for enough time to settle down and develop. Then again, this is more or less what the film also tries to express through the runtime, particularly with Graysmith’s character. In the end, Zodiac goes from being easily dismissible, to borderline convoluted (not necessarily for the wrong reasons) and, by the time the credits roll, leaves your head with the feeling it’s come out of a fatal boxing match.