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Panic
Room (2002)
David Fincher's follow-up to Fight Club takes him back to more standard thriller territory in this Home Alone for grown-ups, entitled Panic Room. The film's title tells half the plot: a newly divorced woman and her teenage daughter buy a huge New York apartment that contains a panic room – a safe compartment in which the owners can barricade themselves in case of a break-in. Not surprisingly, they need the room on their first night in their new quarters, when a diverse trio of criminals break in searching for alleged fortunes. The premise is fine, and the performances are solid from all the players (Forest Whitaker in particular). Fincher toys with the latest technology in camera movement and combines this with a handful of old-fashioned race-against-the-clock scenes, but he still struggles to generate more than a fair share of suspense. Why? Well, our two female protagonists are protected by the film's title, and the villains are too unprofessional and plot-bound to be able to impose a lasting eerie atmosphere. There are exceptions, mostly involving the rawness (Yoakam) or the compassion (Whitaker) of the performances. Fincher does well to explore the desperation and confusion going on in the minds of criminals – even with such different backgrounds as these three have. Towards the end, Panic Room gains pace, and the ending is satisfactory, albeit predictable. The only trouble is that we end up caring more about Whitaker's character than about the somewhat contrived Jodie Foster character, and there is more heart in the moments between the talented Kristen Stewart and the big character actor than between mother and daughter.
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