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Published on April 1st, 2002 | by Erich Becker

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Review: Panic Room

Panic Room is a David Fincher movie. There is no doubt about it. From the very opening credit sequence to the closing credit reel, Panic Room has the style, and darkness that inhabit all of Fincher’s other movies including Fight Club, and Se7en.

One thing that David Fincher is known for is his high-budget, engrossing opening sequences and tricky camera effects. Many, including myself, relay the same feelings for a similar director, with a similar style, Sam Raimi.

Panic Room takes place in an 19th century New York Townhouse of sorts. This three floor house was once inhabited by a rich businessman who became so paranoid about anything in his later years that he had a massive security system installed, along with a panic room. A panic room is a small room filled with rations, video monitors, and it’s own phone line, so in the advent of a break in, the family could survive months if they had to. Surrounding the room is four feet of concrete with a generous helping of steel, in one word, impenetrable.

The films main character, Meg (Jodie Foster), is recently divorced from her husband and moves into the house with her daughter Sarah after the old businessman’s death. Unknown to her, a small fortune has been holed up in a safe inside of the room, and when one of the old man’s grandsons becomes disgruntled by the lack of inheritance he received, he enlists the help of Burnham (Forest Whitaker) and Raoul (Dwight Yoakam) to get his inheritance. Yes, that Dwight Yoakam, the country singer seems to be expanding, and the scary part is, he does a decent job playing the psychopath that is Raoul.

When Foster’s character discovers the burglars in her house, she takes refuge in the panic room with her diabetic daughter. The film then focuses on the perpetrators various attempts to drive Meg and Sarah from the room so they can break into the safe.

While several plot points and actions are more than cliché the movie doesn’t rely on them to step across the finish line. Focusing on the vision of the subject matter, and how the camera is the audience’s eye into this fictional world, David Fincher makes even the simplest thing very dramatic. At several points during the movie the camera makes it’s way through the banister bars on the staircase for a very subtle, yet dramatic visual effect. Also, at several points during the movie, Fincher uses the same fly by effect he used in Fight Club when appearing from the narrators trash can at work. A close pass by normal household objects leaves you with a sense of awe.

As I mentioned above, the opening credit sequence is so Fincher, there is no other way to describe it. Taking a break from the high energy, techno openings of Fight Club and Se7en, Fincher presents the credits as though they are part of the world. Showing various buildings around New York City, the 3D sans serif characters seem to be apart of, branching off of buildings, casting shadows and reflections. It is very hard to describe, but very, very cool to see.

While falling into more than one cliché here and there, Panic Room is an excellent movie, and very suspenseful at a few chosen times. The acting is very well done and the characters are believable with a script that isn’t full of tacky one-liners and pop-culture references. While I love one-liners and pop-culture references as much as the next guy, it was good to get a break from it all, seeing as I will be experiencing comedy genius next week with the long-overdue release of Big Trouble.

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About the Author

Thirty-something with a love of everything we cover here, and a few things we don't. Erich has run Entertainmentopia since the site's inception in 1999, countless redesigns, a few crashes, and a lot of media later, here you have it!



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