Overall, I did like Panic Room. While it is not as good as Se7en or Fight Club, it is slick and efficient, and you can tell that David Fincher was making an effort to make this good. He is a good director, and he does do a decent job directing. Occasionally though, the breakneck camera work and unconventional angles get in the way of the storytelling and the action, so while Fincher succeeded in trying to impress, occasionally he tried too hard. The plot is also rather formulaic, the script is sometimes lacking and the film loses its way in the pacing towards the end.

However, I loved the suspenseful atmosphere, there were occasions throughout the course of the film where it was claustrophobic, and the scenery and dark colour palette were well judged. When the dialogue was good, it was good, while Panic Room does start off wonderfully with a very innovative title sequence. Although it does lose its way, the pace is efficient enough to keep the plot afloat, and the acting is fine. Jodie Foster is very good as the gutsy heroine, while Forrest Whittaker is quite poignant as one of the intruders. I was also pleasantly surprised by Kristen Stewart, I personally have never considered her as much of an actress, but she is quite decent here.

So overall, a slight disappointment but a slick and enjoyable flick. 6/10 Bethany Cox

Celebrated director David Fincher forgets the sneaky twists and turns of his last three movies and instead focuses on a far more simplistic action-based thriller type film, adhering to a straightforward plot as in ALIEN 3 and once again crafting an above-average viewing experience. Although the storyline is ultra-simplistic in scope, solid levels of characterisation and some great set-ups and situations keep this one moving from the start. Films based entirely in one location can go either way but thankfully the sure hand of Fincher keeps this on track all the way. As far as I can make out, the only flaws are a few plot inconsistencies and an over-reliance on CGI tracking shots, where realism would have sufficed and made a better result.

The film's tough heroine is played by Jodie Foster, who seems to have disappeared from the mainstream for yonks. Thankfully she's back with a vengeance and with a solid if unexceptional performance as the lead, crafting a sexy yet cold, fragile yet powerful character. I could have done with less of Foster's cliché-bound daughter-in-peril, who, surprise surprise, turns out to be an epileptic in dire need of medication, but all films have clichés these days and Fincher's are easy to forgive. The main interest comes from the conflicting characters of the three criminals searching for the loot. First and foremost is the vastly underrated Forest Whitaker excelling as the con with a heart, adding extra layers to what could have been a totally unconvincing acting job; secondly we have a cast-against-type Jared Leto as the nervous ringleader, once more getting mutilated for his craft; finally Dwight Yoakam as the very scary and despicable psychopath of the bunch just about steals all of the scenes he appears in.

Fincher handles the camera-work and photography superbly, letting some classic scenes play out naturally on camera (the propane gas explosion is a beautiful if implausible moment). All of the usual cinematic tricks in the Hitchcockian tradition are thrown in, from the tracking shots to the dual cutting and slow motion, and there are some shocks and twisty moments you won't see coming despite the simple premise. The action is handled superbly with the tension racked up to breaking point, finally evaporating in a clichéd but still exciting finale awash with power and violence. So congratulations to all and sundry for crafting a solid, well-made and well-acted thriller with a brain.

This claustrophobic suspense thriller sets itself up well with a remarkable, if digitally enhanced, one-shot that neatly and necessarily establishes the geography of the central location, while also planting the seeds for the seedy uses of various tools laying about the house, so that the action that comes later is clean and clear without ever needing to slow down for the sake of audience reorientation. 'Panic Room (2002)' is pretty pacy and nicely gritty to boot, being unusually violent for pictures of the kind but never less tense either. It manages to make a compelling home-invasion seem suitably layered, presenting the bad guys as rounded individuals with differing yet believable motives and personalities. It still feels immediately dangerous, though, never losing sight of its protagonists and the escalating peril they're placed in, until it finally reaches its truly edge-of-your-seat and slightly unexpected finale. 7/10