A divorced woman and her diabetic daughter take refuge in their newly-purchased house's safe room, when three men break-in, searching for a missing fortune.
A bereaved woman and her daughter are flying home from Berlin to America. At 30,000 feet, the child vanishes, and nobody will admit she was ever on the plane.
After a wealthy banker is given an opportunity to participate in a mysterious game, his life is turned upside down when he becomes unable to distinguish between the game and reality.
Director:
David Fincher
Stars:
Michael Douglas,
Deborah Kara Unger,
Sean Penn
In the late 1960s/early 1970s, a San Francisco cartoonist becomes an amateur detective obsessed with tracking down the Zodiac Killer, an unidentified individual who terrorizes Northern California with a killing spree.
Director:
David Fincher
Stars:
Jake Gyllenhaal,
Robert Downey Jr.,
Mark Ruffalo
Harvard student Mark Zuckerberg creates the social networking site that would become known as Facebook, but is later sued by two brothers who claimed he stole their idea, and the co-founder who was later squeezed out of the business.
Director:
David Fincher
Stars:
Jesse Eisenberg,
Andrew Garfield,
Justin Timberlake
Jerry and Rachel are two strangers thrown together by a mysterious phone call from a woman they have never met. Threatening their lives and family, she pushes Jerry and Rachel into a series of increasingly dangerous situations, using the technology of everyday life to track and control their every move.
Recently divorced Meg Altman and her daughter Sarah have bought a new home in New York. On their tour around the mansion, they come across the panic room. A room so secure, that no one can get in. When three burglars break in, Meg makes a move to the panic room. But all her troubles don't stop there. The criminals know where she is, and what they require the most in the house is in that very room.Written by
Film_Fan
Despite being released in 2002, a year after the 9/11 attacks, the world trade centre towers can be carefully spotted in the opening credits sequence. See more »
Goofs
Junior says that Meg had closed escrow. New York does not have an escrow system. Closing on a house is done with attorneys, with a set closing date. See more »
Quotes
Sarah:
Are you okay?
Meg:
Yeah.
Sarah:
Small space?
Meg:
I'm okay.
Sarah:
You can't wig out.
Meg:
I know.
Sarah:
I mean it.
Meg:
I won't.
Sarah:
You know, people never get buried alive anymore. I guess it used to happen all the time.
Meg:
Really?
[...] See more »
Crazy Credits
Opening credits are amazingly realistic in that they cast shadows and are reflected on the surrounding glass buildings. See more »
I am a fan of Fincher. I love Fight Club, I like Seven and my opinions for his other films vary. His direction was so absurdly horrible, I couldn't help but to be distracted. Almost every shot was unmotivated toward the action; the camera was subjective to the house more than the characters, so the visual aspects dominated the film. Further more, it is my opinion that the visual aspects of the film (Fincher's trademark), were nothing to behold. The lens choices were terrible; extreme wide shots of intense drama on charcters made certain scenes come across phony; the lack of depth of field and very wide lenses, caused shot after shot to have so much 'dead space' in the frame, it seemed painfully obvious the reason was for a claustrophobic mood. As a fan of Fincher, it was a slap in the face to have the amount of product placement abundant (the Cocca Cola scene in the beginning is cringe inducing), when his previous 'Fight Club' basically negated his aesthetic choices in this film. The screenplay was brain dead and gimmicky, mood was so contrived it was shoved down your throat. Maybe Fincher should calm down a bit, understand the meaning of the term subtly and not be so in our face. Just because the camera moves through objects doesn't mean it is well directed, motivation is the key and that was absent.
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I am a fan of Fincher. I love Fight Club, I like Seven and my opinions for his other films vary. His direction was so absurdly horrible, I couldn't help but to be distracted. Almost every shot was unmotivated toward the action; the camera was subjective to the house more than the characters, so the visual aspects dominated the film. Further more, it is my opinion that the visual aspects of the film (Fincher's trademark), were nothing to behold. The lens choices were terrible; extreme wide shots of intense drama on charcters made certain scenes come across phony; the lack of depth of field and very wide lenses, caused shot after shot to have so much 'dead space' in the frame, it seemed painfully obvious the reason was for a claustrophobic mood. As a fan of Fincher, it was a slap in the face to have the amount of product placement abundant (the Cocca Cola scene in the beginning is cringe inducing), when his previous 'Fight Club' basically negated his aesthetic choices in this film. The screenplay was brain dead and gimmicky, mood was so contrived it was shoved down your throat. Maybe Fincher should calm down a bit, understand the meaning of the term subtly and not be so in our face. Just because the camera moves through objects doesn't mean it is well directed, motivation is the key and that was absent.