GILLIAN Flynn wrote a suspense novel populated by ordinary people like thee and me. But its two principal protagonists turn out to be devious manipulators in a marriage that Ms Flynn would like us to believe is experiencing toxic collapse.

Then she adapted it into the screenplay that David Fincher has crafted into a fine collection of twists, turns, tensions, conflicts, misdemeanours, dishonesty, cruelty, murder, theft, mendacity and grief.

Running for 145 minutes including closing credits, it begins with Nick (Ben Affleck) arriving home to find signs of a break-in. And no sign of his wife Amy. Soon her disappearance has become a community cause celebre whipped up by the inevitable media circus. Nick moves in with his twin sister Margo (Carrie Coon). North Carthage homicide detective Rhonda (Kim Dickens) is on his case.

The accretion of disturbing evidence forms a dramatic fabric that initially casts doubts on Nick’s protestations of innocence in Amy’s disappearance. A widespread search has failed to find her. To this point, we’ve seen Amy only in flashback. Then about midway through the film, Flynn thrusts her into the limelight. To describe the plot beyond that point would be a disservice to filmmakers and audience alike. Rosamund Pike’s portrayal of Amy will surely earn her at least nomination for peer-group awards.

“Gone Girl” carries no message and delivers no certainty about Nick and Amy’s future. It simply provides a praiseworthy observation of human behaviour. Which is under no obligation to be nice.

At all cinemas