Azyl

A suspenseful and novel plot. There is no Fincher's darkness this time, "only" a very solid thriller, spiced up with a few gimmicks (the camera passing through the ear of the teapot). Jodie Foster is great as always, and it’s nice to see Forest Whitaker again, even in a villain role, but with a good heart. It couldn’t have been any other way with him :) (13.01.2003)

David Fincher knows how to dose the tension in his thrillers. It is always based on a great idea and when it starts unfolding, it is clear he really enjoys his work, scene after the scene. When I was watching Panic Room, I was quite surprised why he is currently stuck with movies which quite contradict the things he is best at. However, I enjoyed this movie. I wish they would make more harsh and exciting thrillers like this in Hollywood. But I have a feeling that movies like this one are slowly becoming rare in the States. (11.02.2019)

A lobotomized gem filmed in an exhibitionist spirit, which for me bordered on a kind of adult version of Kevin's polka in Home Alone. Never before has Fincher irritated me so much with emptiness - not even in The Game. There's psychology at play here, but the result is a comedy. (07.04.2012)

Fincher's beloved toy for entertainment, which raises credit through three aspects: the perfect atmosphere of constant unease in the house, from which the camera only emerges sporadically, the ambiguous character of Whitaker, whom you cannot guess which side they will join until the last minute, and most importantly, Jodie Foster, who can play hysterical scenes with surprising bravado, on which most of her colleagues would break their teeth. Because of her, those three stars are better, but it needed more twists and script ideas. This way, the flyovers, details, and slow-motion shots get lost in their own purposelessness several times. 70% (13.08.2007)

Decent crime thriller that is interesting in terms of direction. Fincher knows better pieces, but he still works his magic with the camera here, choosing unusual angles for filming, playing with silhouettes behind doors, using darkness to emphasize the atmosphere of an abandoned house. The weaker aspect is rather the script, which squeaks a few times (just like the late arrival of the police considering it's a luxurious prominent neighborhood) and above all spoils the ending of the film. It could have been more inventive, similar endings are already known to the audience from a number of other films. As expected, Foster and Whitaker dominate the acting side. Overall impression: 75%. (16.08.2008)

Very well made. But still, the screenplay isn’t as high quality as we are used to from Fincher. The cast is fine too: Jodie Foster is great, Kristen Stewart a little squirt, Jared Leto blabber-mouthed and Forest Whitaker likeable. A pleasant watch. (20.07.2010)

A casual viewer will hardly appreciate David Fincher's brilliant camerawork and the subtle noir atmosphere of the entire film. The script is indeed simple, but the main characters are brilliantly portrayed and the settings of the large villa, bad weather, and Jodie Foster's believable acting contribute a lot. For fans of the genre and Fincher's films, it is truly an exceptional work. For most others, however, it will likely be just an average cat and mouse game with a slightly exaggerated ending. (01.11.2003)

First of all, I praise the great performance of Jodie Foster, who actually doesn't even need to heartbreakingly cry and wail to express her despair and stress, the look in her terrified eyes is enough. And Fincher's precise and, as always, brilliant direction orchestrates her acting and gives the film a typically dense and uncomfortable atmosphere that gradually builds up until it finally culminates in a powerful and unforgettable finale. I thought Panic Room would be a lot weaker than the best Fincher films, but I was wrong. This guy has done another great job. 90% (17.08.2011)

The B-movie thriller Fincher originally had planned just didn't work out. He deliberately wanted to take a break from the demanding production of Fight Club with something completely genre-pure that takes place in one location. Instead, it turned out to be a 150-day long shoot and one with mainstream feminist milestones, which happened sort of unexpectedly out of the blue (the originally cast Nicole Kidman was supposed to be a classic Grace Kelly-style damsel in distress, and her teenage daughter actually took on the mothering role during the film; the script had to be rewritten after Jodie Foster was cast, because Foster is typecast as a completely different type of actress). In hindsight, it's the formal purity that is the most enjoyable part. While today's home invasion films try to convey the awkwardness of the protagonists' situation through handheld camerawork and quick editing, Fincher almost never uses handheld shots, doesn't pan and therefore doesn't move his gaze, and instead builds the entire film on the gimmick that the camera can be omnipresent, no one person controls it, and therefore we can expect practically anything from it. It's a bit of a shame that the direction then has to rely on a rather unimaginative script which really pulls the subplot out of its ass at the last minute, violently, and in short when another way for the main characters to save themselves comes after ninety minutes, but somehow goes wrong again, you start to wonder more and more if it even makes sense anymore, and with that parameter you find yourself nowhere you want to be nor where the film wants you to be. (16.03.2020)

Panic Room falls a little short against the rest of Mr. David Fincher's oeuvre. However, it’s still a gripping story with excellent cinematography, precise direction, well-developed characters, and an outstanding Jodie Foster who really acts like her life depended on it. As a genre flick, this is one of the better, if not the best, but as far as David Fincher is concerned, slightly above average. (Though he makes up for it with The Curious Case of Benjamin Button). (10.05.2009)