David Fincher’s “Panic Room” isn’t a thriller I’d call classic or even groundbreaking, but it takes a unique twist on the home invasion formula, and allows his protagonists a plot device that’s both an advantage and a weakness to them. Jodie Foster is very good as divorcee Meg Altman, a woman who has just gone through a bitter break up. After moving in to a large four story brownstone in the middle of New York, Meg and daughter Sarah are told their apartment has a foolproof panic room, which was installed by the previous owner. After moving in and preparing for a new life, three robbers break in and are shocked to discover Meg and daughter Sarah have already moved in.
It’s great that such a polished film like “Gone Girl” doesn’t opt for a more safe and Hollywood bound climax where we’ve seen a labyrinth of lies unfold in to a new bow. By the time “Gone Girl” has ended, director David Fincher has written his characters in to a corner, and they’re not at any point going to squirm out of it. I loved “Gone Girl” mainly because it’s a murder mystery without the kind of surprises you’d expect. Our characters are amoral and unlikable, and director Fincher has a keen sense of cynicism toward marriage and how it can be a fiasco that devolves in to a play.
While reports of David Fincher’s “The Social Network” being a modern “Citizen Kane” have been absolutely outlandish and ridiculous, Fincher’s courtroom drama about wunderkind Mark Zuckerberg is a near masterpiece and one that works as a cultural zeitgeist depicting the beginning of a technological revolution and the end of intimate human communication as we know it. “The Social Network” is one of David Fincher’s most verbose and openly intellectual mainstream films to date, a film about the cultural zeitgeist that is social networking and the social animal that derived such pleasure not only from devising such a complex and magnificent program that would distance each other forever that ironically required close and intimate quarters and contact, but from using this program to scorn the individuals who used their own upper class status to keep themselves differentiated from Zuckerberg.
As long as you don’t buy in to everything “The Social Network” tells you, David Fincher’s 2010 film is actually a compelling and engrossing exploration of the evolution of socializing through computers and how it’s shaped and defined our new generation turning us in to passive aggressive bullies and thugs who seek one another out through text and HTML code. David Fincher’s film is not perfect. It’s sexist, sensationalist, and turns an internet revolution in to a mere game of revenge from a lovelorn geek. But for its faults, “The Social Network” is a truly gripping and entertaining courtroom drama about the construction of Facebook, and how it managed to affect every single person who ever came in to contact with Mark Zuckerberg. He’s depicted as a narcissistic social outcast who brought down the walls of class, superficiality and exclusivity by allowing people the advent of elitism by virtue of distance that could allow anyone from the gorgeous woman to the awkward nerd to become the kings of their own personal domains.