| Panic Room (2002) Dir: David Fincher Cast: Jodie Foster, Forest Whitaker, Dwight Yokam, Jared Leto, Kristen Stewart, Ian Buchanan Rated R, Approx: 112 minutes A Columbia Pictures Release |
| David Fincher has proven himself as perhaps the best director to emerge from the 1990s (probaby second in my eyes, first being Quentin Tarantino). Although his freshmen effort was absolutely dreadful (the forgettable Alien 3), it's a hack job chalked up to studio tampering accompanied by an uninspired script. With his three subsequent films, Seven, The Game and Fight Club, Fincher's work has undeniably grown stronger and more memorable (some will argue Seven as Fincher's best to boot but I'm hardpressed to choose a favorite) over the past few years, and while his latest offering isn't up to the standards of his last three works, I'm not entirely comfortable with comparing them. On it's own, Panic Room is a tense nail-biter, a film that shouldn't be compared with his previous films, but rather, be taken for what it is. Exactly what Panic Room is, is the best genre 'thriller' to emerge from Holywood in years, a flawed but pulse pounding chiller that really does what a film of this type should, and that's get your heart beating. |
| When divorcee Meg Altman (Jodie Foster) and her daughter Sarah (Kristen Stewart) move into a large apartment in New York City, they discover the house to contain a mysterious 'panic room', an inpeneterable room surrounded by steel which prevents any 'outsider' entry. During their first night in the new home, the room is put to use by Meg and Sarah when three mysterious men break into the home. Where things really get complicated however, is in the fact that exactly what the intruders want is also inside of the panic room. A room that they absolutely can't break into, they must instead figure out a way to get the Altmans to come out. |
| Fincher has assembled a great cast of actors to work through David Keopp's (who also directed the underrated films The Trigger Effect and Stir of Echoes) script. In the starring role, Jodie Foster really makes Meg a sympathetic character. Even at times when Fincher produces long moments of suspense without much in the way of action or dialogue, Foster keeps us interested with her riveting performance (at times, solely with facial expressions) and reminds us exactly why she's the best actress working in Hollywood (for my money at least, although I don't care much for many roles which she takes up) today. As Meg's young, diabetic daughter Sarah, Kristen Stewart also provides a warm, likable character. Stewart's convincing relationship with Foster really propels this film forward making the danger more tense and the situation more dire. As the trio of villians, Forest Whitaker, Jared Leto and Dwight Yokam are made believable (almost unheard of in today's genre films of this type) by Keopp's script and the justice Fincher does in executing it, it must also be noted that the trio of performers work well off each other, especially as the increasing dislike and unease between them kick in. As Burnham, the intruder with a conscience, Forest Whitaker comes off as likable as always. It may not be such a terrible surprise, what the film has in store for this character, but Whitaker plays it cool always coming off as a believably real person. Functioning as the major villian in the film, Dwight Yokam is aptly scummy as Raoul. Yokam, who really terrified in 1996's Sling Blade, does an effective job of being the menace of the piece, the seemingly soulless maniac who will stop at nothing to obtain exactly what he came for. Rounding up the trio is Jared Leto as Junior, the slimy 'mastermind' who may not be telling the others the whole truth. While Leto is usually a credible actor (great in American Psycho and Fight Club, although he needs to be forgiven for Urban Legend) really hams up his role overacting like a madman. It's not entirely detrimental to the film, just a shame considering that everyone else in the cast really holds together remarkably well. |
| It may frustrate some of Fincher's more staunch fans to seem him take somewhat of a step backward to direct merely a typical 'thriller'. What's really unique about this film (particularly true of David Keopp's script), is the fact that it's as predictable as it is subtly clever. More seasoned fans won't be extremely surprised by much of what happens in this film, but the events are given a lot of distinction by a story that's much better than the usual. In terms of the characters, the villians are essentially desperate men forced into a situation that gets worse and worse, but never cease being people that we could know, or even possibly be. As the victims, Meg and Sarah are also fleshed out in a way that makes them more human than this type of film is used to. Another aspect that may come as sort of a surprise, is that these people don't do anything dumb. Everything these two people do are very natural, intelligent reacations to the situation. In addition to the characters, Keopp includes several little moments that also elevate this film, perhaps the best moment being where Foster trys to keep two curious policemen out of the house at the demands of the thieves, but the cops are well aware that something is wrong and try to get her to admit such. |
| Another endorsment for Panic Room, comes of course, at the hands of David Fincher's inspired direction. Not only does he lend the film a very sleek look with some nifty camera tricks and clever shots (although they do tend to be a little too much on the CGI-side of things to be absolutely impressive), but he works a considerable amount of suspense and tension into what could've been a schlockfest at the hands of a less talented director. There are scenes throughout that will have your heartpounding (most notably the moment in which Foster sprints from the room in an effort to get a cellular phone from the next room) and that's mainly why this film is a success. Too many films of this type are often executed with such indifference that only the masses can be entertained by their ineptness, what Fincher pulls off with Panic Room is an admirable feat and the mark of a truly talented director. |
| Panic Room may lack the grim look at decaying society so hautingly portrayed in Seven, or the devious psychological profile of a bored millionare as in The Game, but it's still a solid film. Those looking for something a little more enjoyable than the stale cardboard efforts of recent years should find plenty to savor about this film, perhpas the best mainstream genre film to come out of Hollywood since one of the director's own previous efforts. |
 |
| Click on my friend here to email me |
| Matt's Rating: **** (out of 5) |
| Reviewed by Matt Serafini 04/04/02 |