I've always been interested in what other people are seeing and watching, and naturally, I love looking at Weekend Box…
It was supposed to be the safest room in the house.
Trapped in their New York brownstone's panic room, a hidden chamber built as a sanctuary in the event of break-ins, newly divorced Meg Altman (Jodie Foster) and her young daughter Sarah (Kristen Stewart) play a deadly game of cat-and-mouse with three intruders - Burnham (Forest Whitaker), Raoul (Dwight Yoakam) and Junior (Jared Leto) - during a brutal home invasion. But the room itself is the focal point because what the intruders really want is inside it.
From the director of Se7en & Fight Club, Panic Room arrives as another intensely gripping, nail-biting & edge-of-the-seat experience from David Fincher which further solidifies his position as one of the modern masters of thrillers, and beautifully balances its style with substance to succeed as one of the most captivating, entertaining & satisfying works of Fincher's career.
Set in New York City, the story of Panic Room concerns a recently divorced mother & her 11-year old daughter who purchase a new house which comes equipped with a safe room in case the security is breached. But on the very first night, three burglars break into their house in search for a missing fortune which is present in the very room where the two ladies…
I've never seen a single second of any of the Twilight movies. And I already know Kristen Stewart is 10x better in this, than she was in any of those movies.
I think few people give Panic Room the credit it deserves. The production design is a state-of-the-art masterpiece.
Looking through the background material for this film, it's impossible not to be impressed. For instance, the previsualization process was at the time the most thorough in movie history. Previz can best be described as an animated storyboard, and has never been used to this extent. In fact, with a few omissions in the opening and the end of the film, a complete animated version of the film exists.
The sets were constructed in their entirety at a Los Angeles soundstage («There is no house»). The way these sets are constructed are so meticulously planned that Fincher wore out an entire crew…
You won’t easily find another movie that is equally well shot, yet as average regarding every other aspect. Aesthetically, it is clearly a David Fincher flick, but as a viewer you are awaiting a Fincher-esque surprise to come. But it won’t. Frustrating, especially with all the foreshadowing that is going on here - “that automatically closing steel door is dangerous!” / “oh, but it has laser sensors that will keep it from shutting if something is stuck in-between, but only like twenty centimetres from the floor and the doorpost.” Hmmmm, will something or someone get stuck in-between, because it isn’t interrupting one of the two laser sensors? Will it? It is a bit of a lousy effort for such a brilliant filmmaker and that is noticed in the absence of a real heart to the story.
Panic Room, even with a multitude of flaws, is massively entertaining. It was one of the last Fincher films that I had to see, and when I found it on Netflix Instant; I happily dove into another dark and dreary Fincher Film.
Panic Room stars Jodie Foster as a separated wife and mother moving into a new house. In their first night spending the night, with many boxes left unpacked, a group of intruders enter; unaware that anyone has moved in.
That's all I'm going to say, because the rest is best left for your discovery. I couldn't imagine seeing this in a packed house on opening weekend, It would've been nuts. Basically, the film is tense. Really, really, REALLY…
It has been a while since the last time I laid eyes on Panic Room, and as a Fincher enthusiast I have always deemed it an effective yet lesser piece of his filmography. While this remains true, it is more a compliment to the rest of his work than an insult to this film, because Panic Room is a stylish and flat out entertaining exercise in the importance of utilizing setting and cinematography to build tension.
On the surface, Panic Room really is nothing special, a home invasion film that plays by some predictable rules like using a child to tug at the heartstrings and raise the stakes, a film that features flat and uninspired archetype villain characters, starting with…
Serviceable, well-made thriller that ultimately doesn't really go anywhere. It gets very draggy in the last act and there's plenty of groan-worthy plot machinations. This is down there with Alien 3 in the Fincher catalog.
Panic Room is a perfect stage for David Fincher's talents. The spacial and story constraints only amplify what he does well. He's built most of his career on making memorable movies out of humble source material. While he's working from a David Koepp script here, he's clearly building on a thriller concept that isn't much deeper than "what if... panic room". Frankly, I think he's often even more impressive with one hand tied behind his back.
I don't want to imply that Panic Room begins and ends with the talents of David Fincher. It contains nothing but standout performances from its entire, small cast.
But Fincher deserves a lot of credit for making the whole enterprise feel epic in scale…
Frustratingly stupid to the point of being downright offensive.
An incredibly taught thriller that wrings every last drop out of its deceptively simple premise. Some of the omnipotent camera moves draw too much attention to themselves, and overall this is clearly not Fincher's best, but it's a fun and entertaining film nonetheless.
Clearly not Fincher's best, but still pretty darn good. Extremely entertaining from start to finish, even if it's just in being able to point out and get excited over noticing Fincher's fingerprints throughout the film. Some terrific camerawork, too.
weak ending. also why do people cast jared leto in things.
Finally have a little bit of time to start getting through my watchlist again. Entertaining Hitchcock homage that stretched my disbelief a little too far. Camera work (and CGI!) was very impressive. Opening titles and that final dolly zoom are killer.
Much more interesting with Fincher's commentary, particularly when he comes close to conceding that his technical ambitions (under the influence of Hitchcock's constructed city block in Rear Window) overshadowed his ability to make sense of the narrative, which I gather changed in significant ways during pre-production, the replacement of Foster for Nicole Kidman notwithstanding. For the first time, also, I heard Fincher confess that he was pandering to the audience in certain moments, and straining to understand public tastes with test screenings. Fincher's reflections aside, I still can't help being bored by the sociopathic bickering between the criminals, or the constant traumas of the mother and daughter as they spend most of the movie waiting and watching the burglars go through the motions. A movie that seems like it would have been much more fun to design than it is to watch.
To be honest, if this wasn't directed by David Fincher, I wouldn't have seen it. It is a good thriller, made with the standard thriller-esk plot and method. One problem is that the movie feels as if it is building up to a plot twist or surprise but instead we get a series of what I think are predictable plot mechanics that stick out in other thrillers. What does stands out though is Fincher's directing. He is a professional at at what he does, making the best use of his camera in every frame. And this move is no exception.
Or more specifically, actors who were fired, replaced or simply cut out of movies, often due to 'creative differences' but…
Let's give some credit to the unsung artisans responsible for setting the mood at the beginning of a film, or…