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2002 American film by David Fincher

Panic Room
Panic Room poster.jpg

Theatrical release poster
Directed by David Fincher
Written by David Koepp
Produced by
  • Gavin Polone
  • Judy Hofflund
  • David Koepp
  • Ceán Chaffin
Starring
  • Jodie Foster
  • Forest Whitaker
  • Dwight Yoakam
  • Jared Leto
  • Kristen Stewart
Cinematography
  • Conrad W. Hall
  • Darius Khondji
Edited past
  • James Haygood
  • Angus Wall
Music by Howard Shore

Production
companies
  • Columbia Pictures
  • Hofflund/Polone
  • Indelible Pictures
Distributed by Sony Pictures Releasing

Release date
  • March 29, 2002 (2002-03-29)

Running time

 112 minutes[i]
Country United States
Language English language
Upkeep $48 1000000 [1]
Box office $197.i million [1]

Panic Room is a 2002 American thriller film directed by David Fincher. The film stars Jodie Foster and Kristen Stewart equally a mother and girl whose new home is invaded by burglars, played past Forest Whitaker, Jared Leto, and Dwight Yoakam. The script was written by David Koepp, whose screenplay was inspired by news coverage in 2000 well-nigh panic rooms.

The film was Fincher's fifth feature movie, following Fight Club (1999). Fincher and Koepp brought together a crew of people with whom each had worked before. The house and its panic room were built on a Raleigh Studios lot. Nicole Kidman was originally cast every bit the mother, only she left later on aggravating a previous injury. Her departure threatened the completion of the film, but Foster apace replaced Kidman. The filmmakers used computer-generated imagery to create the illusion of the film camera moving through the house's rooms. Foster became significant during the shooting schedule, so filming was suspended until later she gave birth. The film's production cost $48 meg.

The moving picture was commercially released in the The states and Canada on March 29, 2002. The film grossed $30 million on its opening weekend. In the Usa and Canada, information technology grossed $96.4 meg. In other territories, it grossed $100.7 million for a worldwide total of $197.one million. The film was well-received by critics, who praised Foster's performance and the film'due south suspense. Foster would later receive a Saturn Award nomination for Best Actress. Panic Room has been assessed for its portrayal of childhood and feminism, the elements of video surveillance and diabetes, and its thematic approach to bloodshed.

Plot [edit]

Recently divorced Million Altman and her eleven-year-old daughter, Sarah, movement into a 4-story brownstone in New York Urban center's Upper Due west Side. The firm'due south previous owner, a reclusive millionaire, installed a "panic room" to protect the occupants from intruders. The room is reinforced by concrete and steel on all sides and a thick steel door. There is also an extensive security organisation with multiple surveillance cameras and a public address organisation.

On Meg and Sarah'southward first nighttime, three men pause into the dwelling: Junior, the previous owner's grandson; Burnham, an employee of the home'south security visitor; and Raoul, a thug Junior has recruited. They intend to steal bearer bonds locked inside a floor safe inside the panic room by the previous owners, every bit Inferior doesn't want to share them with his extended family when his granddaddy's manor is settled in probate.

When Meg awakes during the night to use the bathroom, she sees the men on the security cameras, and she and Sarah rush to the panic room. To force them out, the men pump propane gas into the room'south air vents. Meg ignites the gas while she and Sarah encompass themselves with fireproof blankets; the ignited propane leaves Junior badly burned. Meg taps into the chief telephone line and calls her ex-married man, Stephen. As she attempts to explain their situation, the intruders cutting the line, abruptly ending the phone call.

When all attempts to alienation the room fail, Junior gives up on the robbery, while letting slip that there is more money in the rubber than he initially disclosed. When he attempts to leave, Raoul fatally shoots him then forces Burnham to continue with the robbery. Stephen arrives and is immediately taken hostage. Raoul severely beats him, making certain One thousand thousand sees it on the security camera. Sarah, a diabetic, then suffers a seizure equally her glucagon syringes are in her sleeping room.

Raoul tricks Meg into thinking it is safe to temporarily leave the panic room and, when she leaves to retrieve Sarah's medication, the men enter the room with Sarah inside. One thousand thousand manages to throw the med kit in just as Burnham closes the door, inadvertently crushing Raoul's hand. She pleads with the men to give Sarah her medication, which Burnham does. Two policemen afterward arrive at the house following upwards on Stephen's earlier 911 call and complaints from the neighbors. To protect Sarah, Meg convinces the officers everything is fine and they leave. Meanwhile, Burnham opens the prophylactic and finds $22 million in bearer bonds inside.

As the men set to leave using Sarah as a earnest, Meg leads them into an ambush where she uses a sledgehammer to knock Raoul over a banister and into a stairwell. As Burnham flees, the injured Raoul crawls support and overpowers 1000000, preparing to bludgeon her with the sledgehammer. Burnham, hearing Sarah's terrified screams, rushes back and shoots Raoul, killing him. The police, alerted by 1000000's earlier odd behavior, arrive back at the firm in force and auscultate Burnham, who is forced to drop the bearer bonds, which scatter in the wind.

A few days later, Meg and Sarah search the newspaper for a new, smaller habitation, having recovered from their harrowing ordeal.

Cast [edit]

Actor Role
Jodie Foster ... One thousand thousand Altman
Kristen Stewart ... Sarah Altman
Forest Whitaker ... Burnham
Dwight Yoakam ... Raoul
Jared Leto ... Inferior
Patrick Bauchau ... Stephen Altman
Ian Buchanan ... Evan Kurlander
Ann Magnuson ... Lydia Lynch
Paul Schulze ... Officer Keeney
Mel Rodriguez ... Officer Mora

Jodie Foster stars every bit One thousand thousand Altman, a recently divorced woman who, with her girl Sarah, looks for a new home in New York City. Nicole Kidman was originally cast every bit Meg,[2] but she left the project due to a knee injury.[3] Foster, who virtually joined the bandage of Fincher's 1997 picture The Game, replaced Kidman. Fincher said Kidman's portrayal was "almost glamour and physicality", while Foster's portrayal was "more than political". Meg was originally written to exist helpless, but with Foster's involvement, the character was revised to be stronger.[4] The casting modify as well led to Million's existence rewritten to be like to her girl, whereas Meg had been different from her before.[4] Foster became meaning soon after she started filming. She told the filmmakers, and they decided to keep filming her scenes but with a wardrobe that would conceal her pregnancy.[5] Studio executives did not similar the dailies and suspended production until Foster gave birth and returned to perform re-shoots.[six] Foster was reportedly paid $12 million for her function.[4]

Kristen Stewart stars as Sarah, Meg'south diabetic daughter. Hayden Panettiere was originally cast equally Sarah,[ii] just when she left the project toward the end of 2000, Stewart was cast in the role.[7] Panic Room was Stewart's 2nd feature flick after The Safety of Objects (2001).[8] When Kidman was cast equally Meg, Fincher said Stewart was "to complement [Kidman's portrayal], to be her antithesis, tomboyish, androgynous, dismissive, a teenager at ten years old. It was about the daughter being a parent to her mother."[7] When Foster replaced Kidman, the grapheme Million was rewritten so she and Sarah would exist similar.[4]

Forest Whitaker, Jared Leto, and Dwight Yoakam star as the film's burglars, Burnham, Junior, and Raoul, respectively. Whitaker's graphic symbol Burnham was originally written to be "a slick, technical blazon" and the designer of the panic room in 1000000 and Sarah's home. Fincher did not think a designer could exist persuaded to intermission into a home, so he rewrote the character to be a blue-neckband worker who installs panic rooms for a living. The director told Whitaker to spotter Key Largo (1948) and to emulate Humphrey Bogart'south character. Whitaker said he liked Burnham's "conflicted" nature and preferred it to Raoul's villainy.[nine] Raoul was originally written to be "a giant scary hulking guy", but Fincher rewrote him to be "this wiry, mean kind of ex-con white trash guy".[2] In 1 revised example, Raoul punches Meg instead of slapping her to be reinforced as "an appalling character".[10] The function of Raoul was originally offered to Maynard James Keenan, whom Fincher had directed in a music video for A Perfect Circle'southward "Judith". Keenan was too busy every bit the lead singer for Tool,[2] so Fincher and then offered the part to Yoakam, knowing him from his operation in Sling Bract (1996). For the office of Junior, Fincher cast Leto, who was in the bandage of Fincher'due south previous flick Fight Society (1999).[nine] As role of singular class partitioning, Junior is "the uptown rich kid", where Burnham is blue-collar, and Raoul is undefinable.[11]

Patrick Bauchau had a minor part as One thousand thousand'due south ex-husband Stephen. Kidman, though she left the principal function due to her human knee injury, had an uncredited off-screen function as the voice of Stephen's supermodel girlfriend.[5] Screenwriter Andrew Kevin Walker, who was a credited writer for 7 and The Game and an uncredited writer for Fight Order, had a cameo in Panic Room every bit a sleepy neighbour.[12]

Product [edit]

  • David Fincher – director[thirteen]
  • David Koepp – screenwriter, producer[13]
  • Ceán Chaffin – producer[13]
  • Judy Hofflund – producer[13]
  • Gavin Polone – producer[thirteen]
  • Howard Shore – composer[13]
  • Conrad W. Hall – cinematographer[xiii]
  • Darius Khondji – cinematographer[13]
  • James Haygood – editor[thirteen]
  • Angus Wall – editor[13]
  • Arthur Max – product designer[xiii]
  • Keith Neely – art director[13]
  • James E. Tocci – art director[13]
  • Jon Danniells – set decorator[13]
  • Garrett Lewis – set decorator[xiii]
  • Michael Kaplan – costume designer[13]

Panic Room was directed by David Fincher based on a screenplay written by David Koepp. The film, produced at Columbia Pictures, was Fincher's fifth characteristic film, following Fight Gild (1999).[xiv] Koepp was also a producer for Panic Room, and he was joined by Judy Hofflund and Gavin Polone, with whom he collaborated on Stir of Echoes (1999). Fincher included as producer Ceán Chaffin, with whom he had worked on commercials and music videos. Fincher also included in his initial crew people with whom he had worked before: cinematographer Darius Khondji, production designer Arthur Max, costume designer Michael Kaplan, and editors James Haygood and Angus Wall.[xv]

Fincher envisioned Panic Room as a popcorn movie virtually survival. His previous motion-picture show Fight Gild had 400 scenes and 100 locations, and then he wanted to simplify the production of Panic Room.[16] To this stop, he wanted to focus production on a single prepare and to plan the scenes and shots thoroughly earlier the beginning of filming. Despite the preparation, he experienced difficulty in production with changes in the bandage and the crew as well equally the inherent inflexibility of his initial planning.[14]

Development [edit]

Screenwriter David Koepp was inspired past news coverage in 2000 about how safe rooms were condign prevalent amongst the wealthy living in urban areas. He sold the script to Sony Pictures for $four million.[2] Before Fincher's involvement, managing director Ridley Scott was briefly connected to the project,[15] and actor-director Wood Whitaker studied the script before declining the opportunity to straight.[ii] Fincher said he was interested in the script'due south omniscience and that he was reminded of "the specific subjectivity" of Rear Window (1954).[fifteen] He also saw Panic Room as a cantankerous between Rear Window and Straw Dogs (1971), though he was concerned "a modernistic audition" would compare Panic Room more than to Home Alone (1990) than to Rear Window.[17]

Fincher likewise saw Panic Room as a crime thriller similar to The Treasure of the Sierra Madre (1948), where coin is "an object that everyone's after for the wrong reasons".[2] The director was also interested in the story'due south conciseness of happening in one identify and in ane night,[2] and how the screenplay was well-laid out to let the managing director decide a variety of shots and utilise of set-pieces.[xviii] Fincher also saw the projection as a style to be "in lock-step with the audience" in a change of pace from his previous films.[19]

Koepp's screenplay emphasized step over exposition. Koepp and Fincher agreed to streamline the moving picture and so the opening would introduce the characters as shortly as possible. Fincher also sought to lay out the film and so audiences could come across characters make plans and thus be ahead of them, calling the tense foresight "a very cinematic notion".[20] He wanted to track the different characters' agendas and to also keep scenes chronological, so he prepare "reckoner-generated move-command shots" to move the camera around the set. He planned scenes in which parallel scenes could exist seen through the panic room's video monitors and as well intercut between different characters.[21] The final screenplay was similar in outline to the original one; there were minor changes in dialogue and specific moments, especially in the interaction between 1000000 and Sarah Altman due to Foster replacing Kidman.[22] Explicit mention of Sarah's diabetes, such equally the emergency syringe containing glucagon, were removed from the dialogue. Careful beverage intake, refrigerated medicine bottles, and Sarah'due south glucometer lookout man were intended as evidence of her diabetes.[23]

Pre-production [edit]

The business firm was built on a soundstage on a Raleigh Studios lot. The set was designed by production designer Arthur Max,[24] and it cost $6 meg to build.[half dozen] The panic room was 6 feet (1.eight m) by 14 feet (iv.3 g). Three versions of the room were built so Fincher could movie scenes from multiple angles.[xviii] A 3D figurer model of the assail the soundstage was designed. Fincher, who had washed pre-visualization for Fight Club, used the model to design shots and determine their sequence.[7] The reckoner model besides enabled the camera to have "total freedom to travel" inside the house. Fincher said, "What we were just trying to do with CG was to say, at that place's no camera operator, there'southward no crew, there's no rail, and the camera tin go everywhere."[24] The coiffure applied photogrammetry—"mapping notwithstanding images over the surface of computer-generated 'sets'".[12] The filming schedule was besides shortened since camera setups could exist evaluated and discarded virtually. Fincher had 2-thirds of Panic Room 'due south shots planned before the offset of filming. Director Steven Soderbergh reviewed Fincher's exam footage and warned him that excessive planning would brand actual production difficult for him and his crew.[seven]

Fincher sought to light his picture show less than about other films; he believed darkness contributed to the scare gene. Inbound product, he initially planned to film the first half of the film in virtually-total darkness but decided that information technology required too much patience from audiences. Instead, he chose a "shadowy ambience" as a backdrop for Meg and Sarah Altman.[12]

Filming [edit]

Jodie Foster was cast in the lead function subsequently original star Nicole Kidman exited due to injury. Foster learned she was pregnant 5 weeks into filming her scenes.

Casting began in 2000, with Nicole Kidman and Hayden Panettiere cast as One thousand thousand and Sarah Altman, the moving picture's mother and girl. Forest Whitaker, Jared Leto, and Dwight Yoakam were also cast every bit the film'southward burglars.[2] In December 2000, before the start of filming, Panettiere left the projection, and was replaced by Kristen Stewart.[25] [vii] Filming began in January 2001.[3] Shortly later on the start of filming, cinematographer Darius Khondji was fired from the pic. Khondji said he was fired afterwards a conflict with a crew member that he did non desire to name, but David Fincher said he and Khondji could not agree "on aspects of production".[6] Much of the picture show was already planned in pre-product, and Khondji could not be given flexibility. Fincher replaced Khondji with Conrad West. Hall, with whom he institute "a residue".[26] Khondji said he supported Hall as his replacement.[vi]

After two weeks of filming, at the end of Jan 2001, Kidman was injured on set. An x-ray revealed a hairline fracture underneath one of her genu joints. The fracture was an injury from Kidman's filming of Moulin Rouge! (2001), and the fracture had never fully healed.[25] When Kidman left the projection, Fincher continued filming scenes that did not include her character. During the same time of Kidman's deviation, the Writers Club of America and the Screen Actors Guild were threatening to strike over contractual disputes, so Fincher was pressured to re-cast the function of Meg Altman before it took identify. Since the film was early in product, Fincher was ready to shut down, only the studio wanted to go on product and find a replacement. If the studio had shut down production permanently, it would accept nerveless $three million from insurance. If production was shut downward and so restarted, it would cost the studio $10 million, necessitating a quick replacement for Kidman.[3] Rumored actors included Sandra Bullock, Angelina Jolie, and Robin Wright. Jodie Foster was previously occupied with directing duties of Flora Plum earlier its star Russell Crowe was injured and left the project, leading to that production's shutdown.[3] To join Panic Room, Foster also stepped downwards every bit caput of the awards jury at the 2001 Cannes Flick Festival.[27] [nb i] Foster had a week to prepare for her function earlier filming resumed.[four]

Five weeks afterwards Foster began filming Panic Room, she learned she was pregnant. She informed Fincher and his producer Chaffin of her pregnancy, and they decided to proceed filming. Fincher did non want to blitz production, and so Foster changed her wardrobe from a tank pinnacle to a heavy sweater to disguise indications of her pregnancy. For action scenes, stunt double Jill Stokesberry replaced Foster.[5]

In the film's progression, the house degrades in quality, and so Fincher filmed scenes in continuity as the set inverse.[5] He also filmed many sequences twice due to their nigh-parallel appearance on the panic room's video monitors.[28] Editor Wall said there were 2,073 set-ups for the film with most prepare-ups having two cameras.[29] One repeated take was when Raoul attempts to interruption into the panic room through the plaster ceiling below information technology. The plaster took 45 minutes to replace, and so combined with repeated takes, a scene that was an eighth of a page in the script took ii days to film.[18] Some other repeated accept was 1 five-second shot existence filmed over a hundred times: Meg existence attacked by Raoul and dropping Sarah's medical kit. The shot was repeated and then it would look like Meg did not toss the kit but instead lost information technology. Simultaneously, the kit needed to land in frame and in focus for the audience. Fincher argued for repeated takes so he could combine performances by the actors for "fluid" scenes. He also repeated takes with Stewart to ensure that her acting would be comparable to Foster'due south veteran performance.[28]

The studio planned to release Panic Room in February 2002, but it determined that production could not exist completed past then.[28] Executives reviewed dailies of the film's opening scene and did non like Foster "hiding her stomach under a glaze and purse".[6] (Foster was also suffering from a sprained hip from distended ligaments due to her pregnancy.)[28] The studio suspended production until after Foster's childbirth and rescheduled for the pic to exist released in March 2002. Foster gave nascence in September 2001, and she returned to perform re-shoots, including the opening scene. She also returned two months afterwards for additional filming,[6] which ended that November.[30] Columbia Pictures screened the pic for exam audiences, who rated poorly the ending with the SWAT raid and Burnham's capture. Past the screening, the set had been deconstructed due to storage costs, and Fincher estimated that it would price $3 million to rebuild plenty of the fix to reshoot the ending. Instead, editors Haygood and Wall revisited Burnham's scenes and chose takes in which the grapheme would appear less sympathetic. The final production budget for Panic Room was $48 meg.[vi]

Visual and practical furnishings [edit]

A seamless shot at the starting time of Panic Room took nine days to film on ready but took several months to complete in mail service-product. The shot was a combination of camera footage and estimator-generated effects. Koepp originally wrote the opening scene to be a serial of shots that would zero in on the brownstone house, but Fincher instead chose a sequence of landmarks in New York Urban center with credits hovering in front of them earlier the sequence transited seamlessly to introduce the film'southward main characters.[31] The opening titles were inspired by those seen in The Trouble with Harry (1955) and North by Northwest (1959).[17] The scene of Burnham'southward abort too used computer-generated furnishings. Several scenes likewise involved practical furnishings: Junior'southward injuries from a flaming gas fire and Stephen Altman's bloodied, beaten cocky. A team of puppeteers was used to motility Stephen's sticking-out collarbone. Fincher also sent the film reel to be digitally colour-corrected as he had done for Fight Social club and Seven.[32]

Analysis [edit]

Conspiracy thrillers and feminism [edit]

Academic Jyotsna Kapur identifies Panic Room equally i of several American conspiracy thrillers in the 2000s that re-cast the bailiwick of childhood as "one of horror and alert",[nb 2] where information technology had previously been a field of study of celebration in family films dating back to the early 1980s.[33] Kapur also says the depiction of paranoia in the decade's conspiracy thrillers is divided by gender, describing the male protagonist as "an idealized subject who thinks fast on his feet and cuts through fear to detect the conspirators". In contrast, the female protagonist "gives in to her fear, turns delusional and vulnerable to suggestion"; Kapur cites Meg Altman in Panic Room equally such a delineation with her divorcee status and her residence in a dwelling likewise big for her and her girl Sarah. The bookish says calling this depiction merely a sexist stereotype is too dismissive: "It is logical that anxieties around the domicile and loss of children would privilege women considering the domestic sphere has remained a gendered space." Kapur recalls 1940s films wherein a adult female enters the husband's home as a stranger, with "the house and the husband as sources of dependence and dread".[nb 3] She contrasts them with films like Panic Room, in which the female protagonists instead defend against dangerous intruders. She writes, "They are not economically dependent on the marriage. Yet they portray for most of the film an epitome of feminized vulnerability, replaying the racist trope of diminutive white women in need of protection from outsider threats."[34]

Medicine and technology equally themes [edit]

Panic Room is ane of several films at the plow of the 21st century that utilize video surveillance equally a key element.[nb 4] In detail, video surveillance is featured to illustrate aspects of a "surveillance society".[35] The home is wired with a closed-excursion television organisation, and the images are displayed in the home's panic room. Since the burglars want to access the prophylactic in the panic room where Meg and her daughter Sarah are hiding, in that location is an irreconcilable contradiction of liberty and safety. Dietmar Kammerer says there is no closed organization within the dwelling house for the characters: "There is always communication; every action provokes a reaction."[36] In contrast, the film'due south "photographic camera eye" can travel unimpeded throughout the home, passing through walls. The surveillance footage in the moving-picture show is never the photographic camera heart; the camera eye itself observes the footage on the monitors. Of the cameras, Kammerer says, they are "Extremely mobile, simply unstable: the surveillance technology in Panic Room is useful and harmful, good and evil at once." When the cameras are destroyed, Meg and Sarah are able to overcome the burglars. Kammerer says the cameras reverberate ambivalence in the film, between "liberty and security, openness and closedness".[37]

In the film, Sarah is diabetic. Kevin 50. Ferguson says, "With diabetes, this self-aware focus on the ethics of the body is drawn sharply by films that likewise raise the older course of direct, punitive ability. This is the reason why diabetics appear with frequency in films involving criminality and police force." In a review of well-nigh xl films with diabetes as a primal chemical element,[38] Panic Room is one of the only 3 that shows a glucometer (a device diabetics use to mensurate their glucose; Sarah wears a glucometer equally a watch.) Sarah'due south diabetes in the film is never explicitly outlined for audiences, simply they hear dialogue nearly moderating beverage intake and see the glucometer count down. Ferguson says, "The glucometer arranges the viewer'south acknowledgement of diabetic selfcare, thus implicating the viewer in the process of command. The pure watchfulness of cinemagoers mimics the controlling relationship diabetic characters must endure."[39] Though mother and daughter bond in the film, the mother actively monitors her daughter'due south health. Ferguson says, "Panic Room 's accent on vision and engineering necessitates a paternalistic, monitoring mental attitude towards the diabetic character."[twoscore] He also notes that the glucometer parallels the overarching surveillance system in the motion-picture show in being read "excessively".[41]

Approach to bloodshed [edit]

Academic John Kitterman says audiences see Panic Room as a style to face their fears and to achieve catharsis, but he argues that the film cannot provide that experience authentically.[42] He notes that the film's protagonist Meg Altman is reminded by the panic room of writer Edgar Allan Poe, who wrote several short stories related to premature burial. Kitterman highlights one story, "The Premature Burial", as synonymous with Panic Room.[43] He says, in both works, "It is in the representing or acting out of such fears of being buried live or being the victim of a domicile invasion that the protagonist actually calls for that trauma to happen."[44] He says that One thousand thousand'southward nervous recognition of the panic room guarantees that her fear volition come up to pass.[42] Though the habitation "looks like a mausoleum", the combination of the panic room's beingness able to monitor all the rooms and the unbounded move of the film's camera leads audiences to believe they take some control over against their fears.[45] Kitterman says the confrontation is unauthentic because of the function of Jacques Lacan'south symbolic club, "Nosotros can never find what nosotros are looking for considering truth and reality exist on a different plane of discovery... Truth is subconscious in the symbolic order, and no panoptical vision is going to reveal it to us."[46] Kitterman says the moving-picture show hides the truth of mortality, especially by making everywhere in the film visible to audiences. He concludes, "[Fincher] hides the truth backside a veil of visibility, using the photographic camera to create a hegemony of vision that brainwashes us all into believing that what we are seeing is real. Just the real of decease cannot be symbolized."[47]

Theatrical run [edit]

Columbia Pictures marketed Panic Room as being produced by the same manager who produced Vii and Fight Club. Fincher disagreed with the approach considering he believed that Panic Room did not match the tone of his previous ii films and that it would not appeal to the same audiences. He believed Panic Room would appeal more to audiences who saw Kiss the Girls (1997) and The Bone Collector (1999). He also disagreed with the studio's marketing materials for Panic Room, which advertised it every bit "the most terrifying movie ever made". Fincher also argued with the studio about the poster design, which he believed reflected the film's themes, and the studio relented in publishing Fincher's affiche.[48]

Panic Room had its world premiere on March 18, 2002 in Los Angeles.[49] Fincher refused to edit the moving-picture show to receive a PG-thirteen rating (parental guidance for children under xiii) from the Motion Moving picture Association of America,[30] so the MPAA gave the film an R rating (restricted to filmgoers at least 17 years old) for violence and language.[50] Information technology was commercially released in the United states of america and Canada on March 29, 2002. It was screened in iii,053 theaters and grossed $30 meg on its opening weekend.[1] It ranked get-go at the box office,[nb 5] and for both actor Jodie Foster and managing director David Fincher, the opening weekend gross was a personal all-time to date.[51] It too had the biggest Easter vacation opening to date and the third biggest opening to engagement for a not-supernatural thriller moving-picture show, following Hannibal (2001) and Ransom (1996).[52] According to CinemaScore, which polls opening-weekend audiences, Panic Room received a "B" grade.[53] The audience demographic was 53% female person and 47% male person, and 62% of audience members were anile 25 years and older.[51]

In the picture show'south second weekend (April 5–7) in the United states and Canada, it ranked starting time over again with $18.2 million, competing mainly with the new release Loftier Crimes.[54] The moving picture went on to gross $96.four million at the U.S. and Canadian box function and $100 meg in other territories' box offices for a worldwide total of $196.4 million (In 2006, the film had a re-release in Hong Kong that grossed $682 m, increasing the total to $197.ane million).[ane] The film was Fincher's second highest-grossing to engagement subsequently Seven,[thirty] which grossed $327.3 million worldwide.[55] In the United States and Canada, Panic Room ranks fifth among David Fincher'southward films in box office gross. Adjusted for inflation, Panic Room ranks third. Worldwide, unadjusted for inflation, it ranks fifth.[56]

Critical reception [edit]

Critics called Panic Room "a loftier-tension narrative". They compared the picture to the works of Alfred Hitchcock, both positively and negatively. Several critics idea the motion-picture show was too mainstream after Fincher'south Fight Club.[57] Rotten Tomatoes reported that 75% of 187 sampled critics gave the film positive reviews, with an average rating of 6.ix/x. The consensus states: "Elevated past David Fincher'south directorial talent and Jodie Foster's operation, Panic Room is a well-crafted, above-average thriller."[58] Metacritic, which uses a weighted average, assigned the picture show a score of 65 out of 100 based on 36 critics, indicating "generally favorable reviews".[59]

Joe Morgenstern of The Wall Street Journal said, "Seven was stylishly gloomy, and Fight Club was smarmily pretentious, while Panic Room has been admirably stripped down to atmosphere as a part of compages, and action as a consequence of character." Morgenstern commended the characters Million and Sarah as feminist heroines and as well called the habitation invaders "intriguing". He also applauded Foster's performance and the pic'due south cinematography, and he said to Koepp's script as "all worked out likewise".[60] Flick critic Roger Ebert gave the film three stars out of four, describing Panic Room as close to "the ideal of a thriller existing entirely in a world of physical and psychological plausibility." Ebert wrote, "There are moments when I want to shout advice at the screen, merely just as often the characters are ahead of me." Ebert besides called Fincher "a visual virtuoso", and applauded Foster's performance as "spellbinding".[61]

Home media [edit]

Panic Room was first released on VHS and DVD on September 17, 2002.[62] The studio produced VHS copies only for rental and not for sale, assertive that owners of DVD players were more likely to purchase the film.[63] The studio used the design from the theatrical release affiche for the video cover, where Fincher had wanted a black cover that would differ from the poster. Though previsualization supervisor Ron Frankel wanted to include materials to bear witness storyboard animation, the DVD was released equally a single-disc edition with no audio commentary or other features. Fincher also chose not to include on the DVD scenes filmed with Nicole Kidman earlier she was replaced by Jodie Foster.[57] In its kickoff week, the movie ranked second in DVD sales after Monsters, Inc.,[64] though it ranked offset in DVD rentals.[65] In March 2004, the studio released a special edition DVD, which consisted of 3 discs, ii which provided featurettes of the pre-production, product, and postal service-production processes for the film.[66] The DVD likewise had several commentary tracks, including one past the manager.[67] Author John T. Caldwell cites the special edition DVD of Panic Room every bit an case of demonstrating directorial control to "aesthetically drag" the film.[68]

Columbia Pictures sold the telly rights for Panic Room to Turner Broadcasting and CBS, who shared the rights over five years. In September 2004, Turner aired the motion-picture show on channels TBS and TNT for 12 months, and afterward, CBS aired the film three times in an 18-month bridge. Turner resumed airing Panic Room for xxx months later CBS's turn.[69]

A Blu-ray version of the film has yet to exist released.[70]

Accolades [edit]

Howard Shore won from the American Club of Composers, Authors and Publishers an ASCAP Laurels in the Top Box Office Moving picture music category for his scores for Panic Room and The Lord of the Rings: The Two Towers.[71] The Fine art Directors Guild nominated Panic Room for the Excellence in Production Blueprint for a Gimmicky Movie Honour.[72] The Online Film Critics Society Laurels nominated Panic Room for All-time Editing.[73] Panic Room won an award at the tertiary Golden Trailer Awards for having the Best Horror/Thriller film trailer, beating young man nominees Signs, Brotherhood of the Wolf, Jurassic Park III, and No Such Matter.[74] For her functioning in the film, Jodie Foster was nominated for a Saturn Award for Best Actress.[75]

See also [edit]

  • List of films featuring habitation invasions
  • List of films featuring surveillance
  • List of films featuring diabetes
  • Listing of thriller films of the 2000s
  • List of American films of 2002
  • Cinema of the U.s.

Notes [edit]

  1. ^ James Swallow says Cannes festival organizers were reportedly unhappy with Foster'south conclusion to step downward and every bit a result, they removed The Dangerous Lives of Altar Boys, which she produced and starred in, from the festival schedule.[27]
  2. ^ Kapur's other examples of such thrillers include: Crash (2004), The Forgotten (2004), Flightplan (2005), Syriana (2005), Boom-boom (2006), Children of Men (2006), and The Good Shepherd (2006).[33]
  3. ^ Such 1940s films include Rebecca (1940), Gaslight (1944), The 2 Mrs. Carrolls (1947), Hugger-mugger Beyond the Door (1948), and Defenseless (1949).[34]
  4. ^ Kammerer also references the following films: The Stop of Violence (1997), Lost Highway (1997), Enemy of the Land (1998), Snake Eyes (1998), and The Truman Testify (1998). He also mentions older examples: Peeping Tom (1960) and The Osterman Weekend (1983).[35]
  5. ^ Panic Room was 1 of the weekend's 4 new releases; the others were The Rookie, Clockstoppers, and Death to Smoochy. However, its main competition was Ice Age, which was in its third weekend and ranked second at the box office.[51]

References [edit]

Footnotes [edit]

  1. ^ a b c d east "Panic Room". Box Office Mojo. IMDb. Archived from the original on January 17, 2021. Retrieved January 17, 2021.
  2. ^ a b c d e f g h i Consume 2007, p. 150
  3. ^ a b c d Eat 2007, p. 152
  4. ^ a b c d e Swallow 2007, p. 153
  5. ^ a b c d Swallow 2007, p. 154
  6. ^ a b c d eastward f yard Swallow 2007, p. 156
  7. ^ a b c d e Swallow 2007, p. 151
  8. ^ Eat 2007, p. 161
  9. ^ a b Swallow 2007, p. 162
  10. ^ Swallow 2007, p. 168
  11. ^ Swallow 2007, p. 167
  12. ^ a b c Swallow 2007, p. 163
  13. ^ a b c d e f g h i j k l m n o p Consume 2007, p. 146
  14. ^ a b Consume 2007, p. 145
  15. ^ a b c Swallow 2007, p. 149
  16. ^ Consume 2007, p. 148
  17. ^ a b Swallow 2007, pp. 168–169
  18. ^ a b c Consume 2007, p. 159
  19. ^ Consume 2007, pp. 149–150
  20. ^ Eat 2007, p. 166
  21. ^ Swallow 2007, pp. 166–167
  22. ^ Swallow 2007, p. 169
  23. ^ Swallow 2007, pp. 169–170
  24. ^ a b Eat 2007, p. 158
  25. ^ a b "Kidman Injury Jars Panic Shoot". ABC News. Jan 6, 2006. Archived from the original on August 15, 2018. Retrieved June 28, 2020.
  26. ^ Consume 2007, p. 157
  27. ^ a b Swallow 2007, pp. 152–153
  28. ^ a b c d Consume 2007, p. 155
  29. ^ Swallow 2007, p. 160
  30. ^ a b c Swallow 2007, p. 170
  31. ^ Swallow 2007, p. 164
  32. ^ Eat 2007, p. 165
  33. ^ a b Kapur 2008, p. 44
  34. ^ a b Kapur 2008, pp. 47–49
  35. ^ a b Kammerer 2003, p. 468
  36. ^ Kammerer 2003, p. 471
  37. ^ Kammerer 2003, p. 472
  38. ^ Ferguson 2010, pp. 192–193
  39. ^ Ferguson 2010, pp. 194–195
  40. ^ Ferguson 2010, p. 196
  41. ^ Ferguson 2010, pp. 200–201
  42. ^ a b Kitterman 2003, p. 239
  43. ^ Kitterman 2003, p. 237
  44. ^ Kitterman 2003, pp. 238–239
  45. ^ Kitterman 2003, p. 240
  46. ^ Kitterman 2003, pp. 240–241
  47. ^ Kitterman 2003, p. 241
  48. ^ Swallow 2007, p. 171
  49. ^ "2002 – Kristen Stewart (Panic Room Premiere)". CBS News. Archived from the original on January 19, 2021. Retrieved January 19, 2021.
  50. ^ "Panic Room". filmratings.com. Motion Picture show Clan of America. Archived from the original on September 24, 2015. Retrieved December 14, 2012.
  51. ^ a b c Fuson, Brian (Apr two, 2002). "Holiday weekend red-hot, pushes '02 past $2 bil marker". The Hollywood Reporter. 372 (42).
  52. ^ Gray, Brandon (April 2, 2002). "'Panic Room' Breaks Into the Summit Spot, 'Rookie' Hits a Triple". Box Part Mojo. Archived from the original on December fifteen, 2018. Retrieved July 15, 2010.
  53. ^ Karger, David (April 5, 2002). "'Crimes' and Ms. Demeanor". Amusement Weekly. Archived from the original on January 9, 2009. Retrieved July 26, 2010.
  54. ^ Fuson, Brian (April 9, 2002). "'Panic' leads weekend b.o. as figures keep record footstep". The Hollywood Reporter. 372 (47).
  55. ^ "7". Box Role Mojo. IMDb. Archived from the original on January xviii, 2021. Retrieved January 18, 2021.
  56. ^ "David Fincher Moving picture Box Office Results". Box Role Mojo. Archived from the original on November 11, 2020. Retrieved April 22, 2013.
  57. ^ a b Swallow 2007, p. 172
  58. ^ "Panic Room". Rotten Tomatoes. Fandango Media. Archived from the original on September 10, 2010. Retrieved September 7, 2021.
  59. ^ "Panic Room". Metacritic. Reddish Ventures. Archived from the original on October 10, 2007. Retrieved January eighteen, 2021.
  60. ^ Morgenstern, Joe (March 29, 2002). "A Stiff Jodie Foster Gives 'Panic Room' Its Scary Force". The Wall Street Periodical.
  61. ^ Ebert, Roger (March 29, 2002). "Panic Room". RogerEbert.com. Archived from the original on April 29, 2020. Retrieved May 25, 2020.
  62. ^ Villa, Joan (July 3, 2002). "It's Fourth dimension to Panic". hive4media.com. Archived from the original on July 25, 2002. Retrieved September 21, 2019.
  63. ^ Ahrens, Frank (October vii, 2002). "Hollywood Sees the Big Picture With DVDs". The Washington Post. Archived from the original on January 19, 2021. Retrieved January eighteen, 2021. Idiot box commercials urge consumers to 'buy information technology now on DVD, hire it on video.' That is because Sony made no video copies for auction, guessing that the consumer most likely to buy 'Panic Room' would play it on DVD.
  64. ^ Staff (September 22, 2002). "Superlative x DVD Sales; For The Week Ending September 22, 2002". DVD News. six (33): ane. ISSN 1098-2523.
  65. ^ Staff (September 22, 2002). "Top x DVD Rentals; For the Week Ending September 22, 2002". DVD News. 6 (33): 1. ISSN 1098-2523.
  66. ^ Bovberg, Jason (March nineteen, 2004). "Panic Room: 3-Disc Special Edition". DVD Talk. Archived from the original on June 8, 2020. Retrieved June 8, 2020.
    • Richter, Erin (April 15, 2004). "'Room' to Grow". Entertainment Weekly. Archived from the original on July 31, 2013. Retrieved September 14, 2012.
  67. ^ Vasquez, Josh (April 14, 2004). "Panic Room: Special Edition". Camber Magazine. Archived from the original on November 7, 2011. Retrieved September xiv, 2012.
  68. ^ Caldwell, John T (2008). "Prefiguring DVD Bonus Tracks". In Bennett, James; Brown, Tom (eds.). Moving picture and Television Afterward DVD. Routledge. p. 164. ISBN978-0-415-87834-0.
  69. ^ Andreeva, Nellie (April sixteen, 2002). "'Panic' ensues at Turner, CBS". The Hollywood Reporter. 373 (2).
  70. ^ Harlow, Casimir (July 19, 2014). "fifteen Films That Should Be Out On Blu-ray By Now". The A.V. Club. Archived from the original on October 23, 2014. Retrieved December 22, 2014.
  71. ^ Staff (April 30, 2003). "ASCAP Honors Peak Film and Television set Composers and Songwriters at 18th Annual Gala". ascap.com. American Guild of Composers, Authors and Publishers. Archived from the original on November 3, 2013. Retrieved June 12, 2013.
  72. ^ "7th Almanac Excellence in Production Pattern Awards". adg.org. Art Directors Guild. Archived from the original on October 5, 2011. Retrieved June 12, 2013.
  73. ^ "2002 Awards (6th Annual)". ofcs.org. Online Movie Critics Lodge. Archived from the original on April 18, 2016. Retrieved June 12, 2013.
  74. ^ "Winners and Nominees for the 3rd Annual Gilded Trailer Awards". goldentrailer.com. Gilt Trailers Award. Archived from the original on March 7, 2012. Retrieved June 12, 2013.
  75. ^ Dhruv Bose, Swapnil (November nineteen, 2020). "From Martin Scorsese to Robert Zemeckis: Jodie Foster'southward 10 best film performances". Far Out. Archived from the original on November 25, 2020. Retrieved January eighteen, 2021.

Bibliography [edit]

  • Ferguson, Kevin L. (September 2010). "The Cinema of Control: On Diabetic Excess and Disease in Film". Journal of Medical Humanities. 31 (3): 183–204. doi:10.1007/s10912-010-9110-eight. ISSN 1041-3545. PMID 20376543. S2CID 27743573.
  • Kammerer, Dietmar (2003). "Video Surveillance in Hollywood Movies" (PDF). Surveillance & Club. 2 (2/3): 464–473. ISSN 1477-7487. Archived from the original (PDF) on Apr 17, 2012.
  • Kapur, Jyotsna (2008). "Fear on the Footsteps of Comedy: Childhood and Paranoia in Contemporary American Movie theatre". Visual Anthropology. 22 (1): 44–51. doi:10.1080/08949460802529027. ISSN 0894-9468. S2CID 144697505.
  • Kitterman, John (June 2003). "Domicile(land) Invasion: Poe, Panic Rooms, and 9/11". The Journal of American Culture. 26 (2): 237–242. doi:10.1111/1542-734X.00089. ISSN 1542-734X.
  • Swallow, James (2007). "House Abort". Dark Heart: The Films of David Fincher. Reynolds & Hearn. pp. 145–173. ISBN978-1-905287-thirty-seven.

Further reading [edit]

  • Browning, Marking (2010). "Adult female in Peril or Final Girl? Alien 3 and Panic Room". David Fincher: Films That Scar. Praeger. ISBN978-0-313-37772-3.
  • Dixon, Wheeler Winston, ed. (2004). Film and Television After ix/11. Southern Illinois University Printing. ISBN978-0-8093-2556-six.
  • Ellison, James (2002). Panic Room. Robert Unhurt Publishing. ISBN978-0-7090-7288-1. (Novelization based on the screenplay written by David Koepp.)
  • King, Peter (2004). "Fear and the condolement of the mundane". Private Dwelling: Contemplating the Use of Housing. Housing, Planning and Design Series. Routledge. pp. 129–150. ISBN978-0-415-33620-8.
  • Nielsen, Bianca (2005). "Habitation Invasion and Hollywood Movie theater: David Fincher's Panic Room". In Heller, Dana (ed.). The Selling of nine/eleven: How a National Tragedy Became a Commodity. Palgrave Macmillan. ISBN978-ane-4039-6817-3.
  • Stahl, Lynne (2016). "Chronic Tomboys: Feminism, Survival, and Paranoia in Jodie Foster's Body of Work". The Velvet Calorie-free Trap. 77: 50–68. doi:x.7560/VLT7704. ISSN 0149-1830. S2CID 147324963.

External links [edit]

  • Official website
  • Panic Room at IMDb
  • Panic Room at AllMovie Edit this at Wikidata

bennettovelly1984.blogspot.com

Source: https://en.wikipedia.org/wiki/Panic_Room

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