(I tried to make it spoiler-free, but there might be a few minor spoliers.)

I really wanted to like this movie, and I was looking forward to it ever since I heard about the spec sale so many months ago. I followed the casting circus surrounding it, and I felt my heart race when I found out that David Fincher would be directing Jodie Foster. Great visual director. Great actor. A script that took a basic, simple idea and had most of Hollywood buzzing. Seemed like the recipe for a popcorn movie worth its salt.

In retrospect, I’m not really sure why I thought I would like it. The more I think about it, the more I realize I didn’t so much think I would like it – I just want to SEE it. And see it I did.

Though I’m not the usual fan of popcorn thriller movies, I can get into them every now and then. The problem with them for me is that there’s usually so much that you have to accept at face value in the premise in order to sit back and enjoy the movie without constantly yelling at the screen (in your mind, at least). You know what I mean. "Don’t go in that room!" Or more basic stuff, like "why are you cheating on your wife? Haven you seen FATAL ATTRACTION?" Or whatever. When you watch your standard Hollywood thriller, there’s a lot you have to ignore in order to watch and enjoy the movie.

PANIC ROOM is a well-crafted, viscerally entertaining thriller if, and only if, you can accept that there’s just some elements in it that are not going to make sense. Certain principles of logic and common sense are sacrificed in order to take the audience on a ride. It’s sort of like a rollercoaster; getting on an 80 mph runaway train that drops you off right where you got on really doesn’t make a whole lot of sense except for the purpose of getting on an 80 mph runaway train.

I’m not sure why I thought this one would be different. David Fincher is a great visual artist, and though his previous movies (among them, SEVEN, THE GAME, FIGHT CLUB) have strained the boundaries of logic, they haven’t really broken it. Or maybe just a couple hairline fractures. I didn’t like FIGHT CLUB, but not because it didn’t make sense. I understood perfectly what it was saying. I just didn’t agree with it. But then that movie came from a fairly sound piece of fiction (so I hear) that needed a visual stylist to figure out exactly how to translate it to the screen. The basic story of PANIC ROOM – woman and daughter are locking in saferoom trying to fight off bad guys who want something in the saferoom – that needed no translation. Visual style is good to have, but Fincher’s work has always been heavy on style, with the substance straining to keep up. In SEVEN, and even FIGHT CLUB, there was plenty of substance to support the art direction budget. Here, with this amazingly simple story, Fincher’s work ends up being superfluous. How much CGI work do you need in a story set in one house? He has never shown himself to someone who could get out of the way of moving story, and here the flying camera shots and see-through floors all seem like an exercise in existence justification. "Unless I do the visual," he seems to be saying, "it’s going to look like anyone could have directed this."

Then again, maybe a different director would have demanded another couple passes on the script. David Koepp, the writer, has made a good name for himself pulling duty on high concept studio fare, but moreso in writing fascinating thrillers on spec. He translated JURASSIC PARK to the satisfaction of many, and he’s the man behind the upcoming SPIDER-MAN. He’s also responsible for the very interesting THE TRIGGER EFFECT and STIR OF ECHOES, both of which he directed. Here again, there should have been clues. Both of those movies, the latter especially, being based on a Richard Matheson novel, feature ultra catchy premises that aren’t developed to great effect. Interesting as ideas, but they tail off towards the end.

His story for PANIC ROOM grabs you from the beginning, and one of the best things about the movie is how fast it moves you from introduction to danger. The panic room is explained very quickly, and any other exposition is doled out on a need-to-know basis. This is how it should be done, Hollywood thriller construction at its best. But can it move fast enough to get audiences to ignore the holes and lapses in logic?

The answer to the question is, probably – regrettably – yes. While this won’t go down as some cinematic classic, most will easily ignore some of the problems I had with it. Few will question why there are three bad guys when they should have been two. Few will think about the character trait the Jodie Foster has then doesn’t have. Maybe they’ll laugh when the bad guys ask a certain question in the third act; it’s certainly meant to be funny, but it is also a serious question that deserves an answer. (I’m trying to give a spoiler-free review here.)

One reason audiences will ignore the holes: Jodie Foster. She gives a performance that rises above the material that seems meant to sabotage her every step of the way. It seems to tease her, giving her motivation then taking it away, making her seem smart then dumb as a doorknob. Through it all, works to make it seem, if not always believable, at least admirable. She manages to be a joy to watch work, and work she does.

The baddies are a different issue. Forest Whitaker is decent as a decent crook. Jaret Leto, however, is not decent. A friend commented that the art department must have had a huge budget to replace all the scenery Leto kept chewing. His character is a greedy, conniving idiot, and Leto’s silly fight to steal every scene he’s in makes him come off the same way.

Nevertheless, I’m convinced people will enjoy this movie. That’s not a pessimistic or elitist view of audiences as idiots who can’t tell a good movie. No, it’s because, in spite of Holland Tunnel-sized holes, the movie takes an interesting premise and manages to be quite thrilling – if you ignore the holes. And ultimately, trying to point out the holes is like trying to tell rollercoaster riders that the trip doesn’t really go anywhere. They don’t care. They just want to go for a ride.

@@@ out of @@@@@


RED
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He's impervious to creditors!
He's...The Got-No-Green Lantern!

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looking forward to seeing it this weekend. i heard much of the same about the film. mainly going to see fincher's construct, not that amped about the content.



my gun'll come ooout.....tommorrow (c) ghost

RED
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He's impervious to creditors!
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and I probably won't even rent the video, but this review is certainly top-notch!

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really

I had no desire to pay $10 to see this movie...I MIGHT rent the DVD once it comes off the new release wall, tho...Seriously the movie looks wack to me, as it did when I first saw the trailer...I was disappointed when I found out Fincher was the director responsible.

He got his start doing music videos, BTW, which I think plays a large part in the way he directs. from the trailer it seemed to me that the premise wouldn't be enough to sustain a feature-length film...

My only question: that's Jodie Foster's DAUGHTER? (her character, I mean) Am I the only one that thought its 'sposed to be her SON? I coulda sworn it was a little long-haired boy...

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peace

Iz

I was a third of the way through the movie before I realized it was a girl.

And I saw him/her on Ent. Tonight the day before. Had me fooled.

Yet, the bad guys saw her in the dark in the bad with her back to them and under the covers, and they go "it's a woman and a little girl in there." WTF?

RED
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He's...The Got-No-Green Lantern!

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this is a great review. wow. this turned out more to be a review of a review. anyway, i'm probably seeing this tonight. it still looks very interesting, and i'm a sucker for a "leave your reasoning at the door" flick every now and then.















******************************************
if my body and hair is so sacred
then why can't we be naked
in public
it's totally natural like sex is
but this is
a law that had to have been made
by men with itty bitty penises.
(c)humpty

man, talk about a thriller...i have to admit it had me one hte edge of my seat the whole time. it's a fun movie to watch. redeye did bring up some good points though...but i suggest to go to this movie without trying to predict what's gonna happen next. shoot, we all know what's gonna happen, of course jodi foster and the kid get away (*gasp*)...but this movie is not trying to break any grounds as far as plotlines...like already mentioned, about 10-15 minutes into the movie, the action begins. it's kinda like a porno in that way, heh.

but i do recommend this movie. good date flick, she(shoot, even he) will be clinging on to you throughout the whole movie.

as far as the characters, i thought forest whitaker's character played too much of a softy, although i did like jared leto. he brought a little humor to the film. dwight yoakam should kept his damn mask on.















******************************************
if my body and hair is so sacred
then why can't we be naked
in public
it's totally natural like sex is
but this is
a law that had to have been made
by men with itty bitty penises.
(c)humpty

I acknowledge everything said, but, I'm trying to be entertained, and it did. I screamed at the screen throughout the movie. I heard people laughingat me, And everytime someone got hurt, I would say, Oh, and everyone would here me, because it was so quiet, people weren't making much noise, they were so into the movie. The visual theatrics made the movie better in my opinion. I really enjoyed it.


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to follow the sun of whoever feeds and waters her a woman,
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walking the earth only because she is free and not creepervine or tree
Nor even honeysuckle or bee. -- Alice Walker


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It doesn't help that the girl looks like Macauly Culkin

I still liked it depsite the Home Alone-ness of it. I am a fan of David Fincher's style.

m e l a n i s m
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>It doesn't help that the girl
>looks like Macauly Culkin
she does...is aw a little featurette on the making of the movie and saw her..i was like that's a really diesel looking little boy..then she opened her mouth everyone intheroom was stunned..why was my friend like: "Damn! them Culkin boys be looking girly as HELL these days!" im still going to see the movie but wow....but hey androgyny sells these days no?

>I still liked it depsite the
>Home Alone-ness of it. I
>am a fan of David
>Fincher's style.
i like david fincher and ill definitely see the movie AND i love jodie foster..i dont care what anyone says, jodie is phenomenal. she's the BEST non lesbian/lesbian actress out now!

Ryan


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"A-Ha Ha Ha. Oh gosh, that's funny! That's really funny! Do you write your own material? Do you? Because that is so fresh. 'You are the weakest link. Goodbye.' You know, I've never heard that joke before. Hmm. You're the first. I've never heard anyone reference that outside the program before...because that's what she says on the show...right, isn't it? 'You are the weakest link. Goodbye.' And, yet, you've taken that and used it out of context to insult me in this everyday situation. God, what a clever, smart girl you must be...to come up with a joke like that all by yourself, Hm. That's so fresh too. Any 'Titanic' jokes you want to throw at me as long as we're hitting these phenomena at the height of their popularity..."

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I sat there, thinking this is Home Alone Grown Up style with a little bit of McGuyver.

I'm mad at Forrest though, he had $22,000,000 there weren't any tapes of him and dude would have offed all the witnesses and got shot by the cops, why did he go back!

If you don't like it , too bad !

Shit happens

RED
His super power is lack of money!
He's impervious to creditors!
He's...The Got-No-Green Lantern!

RED
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when dudes arm and face got burned up

***********************************

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First off...great review.

The problem
>with them for me is
>that there’s usually so much
>that you have to accept
>at face value in the
>premise in order to sit
>back and enjoy the movie
>without constantly yelling at the
>screen

I agree. In thriller's, I usually throw in the fear factor that keeps the protagonist from making smart decisions. That by itself can get me through a movie so that I can enjoy it.

As far as David Fincher, PANIC ROOM is my least favorite out of all his works. I enjoyed his visuals VERY much. The slick camera work that you may not have enjoyed was a treat for me. And while some people might not appreciate the overall darkness of the film (especially the green theme throughout), I loved it. That green presented a mood, and it was consistent all through the film.

I'm a Forrest Whitaker fan, and I the first shot of Forrest's face walking through the house was tight. But as my movie partner said (and I'm sure she'll come in this post and say it herself), a criminal with a conscience is suspect. I mean, they were building it up all through the film, how could you not expect Forrest to be some kind of anti-hero in the end?

Overall, I was entertained. I'll almost say for the entire $9 I paid to get in...but it's definately not Fincher's best. Although, I gotta give him props on the beginning credits. Wonderful!

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Okay, maybe not ever. But in a long while. The credits were nice.

RED
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He's impervious to creditors!
He's...The Got-No-Green Lantern!

RED
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shallowness...i mean to stretch your logic THAT MUCH?!?!?!?!
this movies PROVES that jared leto cant act for shit and that requiem for a dream was a FLUKE for his cameron diaz side piece ass!!!

jodie was good..forest was good...the androgynous boy/girl as the daughter wasnt bad.

dwight yoakam was blah...for him to be playing a stock latino stereotype he could have been MORE game at NOT trying to play that type int he movie..oh well.

the cinematography was lovely as were the credit...it was obvious that the more hte movie relied on the editing and cinematography, plot aka substance was GONE...and this IS from David Fincher--the man who gave us the classic...ALIEN 3! HA!

but it was a good popcorn movie to go to...

hilarious shit: watching hte movie up on 42nd street with a predominiately black audience and hearing people freak out the first time jodie runs out of the panic room things like:
"ooh that bitch betta run! theyre going to get her!"
"hefa you skinny! REACH for the fucking phone!"
when she knocks over the light:
"OOH DAMN jodie gon get clocked yall...who putting money down on which guy gets her first?"
"run jodie! run! you gettin $20M for this movie PLUS 5%-10% of the international and domestic gross--you BETTA RUN FOOL!" (oh that was me! hehehehe )

but redeye's review was on point...
RC




"Self love, my liege, is not so vile a sin as self-neglecting."
--Shakespere

donwill on the internet:
i look at the web like its a video game...who cares if some shithead dont like u, think about it...when u log off...u log off..when they log off..they go meet each other..it doesnt stop for them...

Get Out the Room
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I hated this film. Well, let's say I severely disliked it. The previews made it look half decent but it was anything but. I thought about writing a review on it for my school paper but it wasn't worth the time.

The thing about this film is it had potenial to be a top-notch film...but I don't know what went wrong. Nice to see Forest on the big screen again though.


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its a thriller with a simple premise that tries to stay plausible and more or less succeeds as good entertainment. if you broke down most thrillers you would find alot of ridicolus coincidences, and shit that depends on pure luck, so the idea that the premise is hard to believe is a joke, its a hell of alot more believable than 99% of thrillers ever made

as if I went home and pondered this movie into the wee hours of the morning.

All the gaps in logic jumped off the screen at me while they happened in the movie.

If other people checked their brains at the door, that's fine. But don't accuse people who didn't of over-analyzing.

If you didn't question why that previously thunderous panic room door opens without sound and Jodie Foster can now run across the hardwood floors without making a sound but the bad guys can then hear a lamp fall then, by all means, enjoy yourself.

RED
Ora et labora

RED
http://arrena.blogspot.com

the lamp came crashing down, and made a spark which the bad guys SAW, and from what I could gather the panic room door only makes a thunderous noise when it closed not opened.

and as far as the ceckin your brain at the door and the "gaps in logic" stuff name one thriller thats ever been made that didn't depend on gaps in logic and pure coincidence. There are none and this movie has a hell of alot less than almost every other.

what you call checkin you brain at the door I call nit picking for the sake of nit picking

I have a question maybe someone can answer...how did that one dudes hand get caught in the panic room door? In the first part of the movie the guy (who is showing the whole house around) clearly tells jodie foster that there is a sensor....which opens the door in case a hand or something else is about to get stuck....

I didn't like Raul anyway.
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set at different levels.

His hand was in between the sensors.

RED
Ora et labora

RED
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There's "suspension of disbelief" and then there's just ignoring the obvious. I'm willing to go along with quite a bit as long as something makes sense WITHIN the context of the movie.

Nit picking for the sake of nit picking is when some people criticize the make-up of the Panic Room - the vents, how dude got his hand caught (as noted in another post here), the electrical system used to power the room. These are complaints I've heard other people make about inaccuracies in the movie. But within the movie, those things are consistent with story logic.

The bad guys were down a floor (at least), so they maybe the would have seen the light flash when the lamp fell, maybe they wouldn't. But I swear the door made noise when it opened the first couple times it opened. Even if you disagree, you know her feet running on the floor made noise because she was running when she first saw them in the house - and they heard her running, and she knew they heard her. So if the door makes no sound (which she would have had to realize), why didn't she try to tip-toe out of the room as anyone one would have done? If the door was quiet, she could have crept out and got the phone without anyone noticing. But no, she sprints out of the room because she knew that the bad guys should have heard the door.

This isn't something I thought about later. This is what was going through my mind while it was going on. Oh well.

As far as movies that don't "depend" on gaps in logic. "Depend" is the operative word, because just about every movie has them, some intentionally, some not. For a thriller that doesn't depend on it, see pretty much any Hitchcock movie. You want something more recent? Look at Fincher's own work. Is SEVEN a thriller? You could nit pick it, but there are no gaps in logic.

Of course, being logically consistent doesn't guarantee a movie will be good. WHAT LIES BENEATH, if I recall, didn't rely on logic gaps to tell the story. It was just boring. And I could be wrong about the logic, but I was struggling to stay awake.

Bottom line, most current thrillers rely on the audience to "not think too much" and just offers some cheap scares and thrills as a substitute for a good story. So they are always heavy on the suspension of disbelief. But that's not the same as just fudging the logic for the sake of a thrilling moment. Which is what this scene in Panic Room did.

RED
Ora et labora

RED
http://arrena.blogspot.com

>There's "suspension of disbelief" and then
>there's just ignoring the obvious.
>I'm willing to go along
>with quite a bit as
>long as something makes sense
>WITHIN the context of the
>movie.

I'm with you so far

>Nit picking for the sake of
>nit picking is when some
>people criticize the make-up of
>the Panic Room - the
>vents, how dude got his
>hand caught (as noted in
>another post here), the electrical
>system used to power the
>room. These are complaints I've
>heard other people make about
>inaccuracies in the movie. But
>within the movie, those things
>are consistent with story logic.


still with you

>The bad guys were down a
>floor (at least), so they
>maybe the would have seen
>the light flash when the
>lamp fell, maybe they wouldn't.

the movie made certain they saw it, theres a shot of them lookin seeing the flash


>But I swear the door
>made noise when it opened
>the first couple times it
>opened. Even if you disagree,

you seem pretty sure about this, so what the hell I'll take your word for it.

>you know her feet running
>on the floor made noise
>because she was running when
>she first saw them in
>the house - and they
>heard her running, and she
>knew they heard her. So
>if the door makes no
>sound (which she would have
>had to realize), why didn't
>she try to tip-toe out
>of the room as anyone
>one would have done? If
>the door was quiet, she
>could have crept out and
>got the phone without anyone
>noticing. But no, she sprints
>out of the room because
>she knew that the bad
>guys should have heard the
>door.


you ever been talkin to someone and been so caught up in the conversation that stuff going on around you didn't seem to matter? Well that is the type of conversation, arugment if you will, the crooks were having. when they heard her running in the house at first the crooks were attentive and completely silent. its amazing how a heated argument can take your focus away, Fosters character saw them arguing and figured her best bet was a mad dash..... get in and get out or rather get out and get back in

>This isn't something I thought about
>later. This is what was
>going through my mind while
>it was going on. Oh
>well.
>
>As far as movies that don't
>"depend" on gaps in logic.
>"Depend" is the operative word,
>because just about every movie
>has them, some intentionally, some
>not. For a thriller that
>doesn't depend on it, see
>pretty much any Hitchcock movie.
>You want something more recent?
>Look at Fincher's own work.
>Is SEVEN a thriller? You
>could nit pick it, but
>there are no gaps in
>logic.
>
>Of course, being logically consistent doesn't
>guarantee a movie will be
>good. WHAT LIES BENEATH, if
>I recall, didn't rely on
>logic gaps to tell the
>story. It was just boring.
>And I could be wrong
>about the logic, but I
>was struggling to stay awake.

What Lies Beneath relyed on over the top supernatural nonsense that was so ridicuolos that by the last scene I had to try as hard as I could not to laugh



>Bottom line, most current thrillers rely
>on the audience to "not
>think too much" and just
>offers some cheap scares and
>thrills as a substitute for
>a good story. So they
>are always heavy on the
>suspension of disbelief. But that's
>not the same as just
>fudging the logic for the
>sake of a thrilling moment.
>Which is what this scene
>in Panic Room did.

I disagree, you take 10 people and put em in the same situation as Foster some will tip toe some will sprint

you take 10 crooks put em in the same situation as the crooks in the movie some will hear footsteps some will be so caught up in their argument to notice

I don't see any logic fudging at all

did she blink or did the cop just read between the lines or did she did blink when they showed the overhead shot?

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No she didn't. The cop just did his job. Minor but good point in the movie.

RED
Ora et labora

RED
http://arrena.blogspot.com