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.
Robert Downey Jr.,
A retired F.B.I. Agent with psychological gifts, is assigned to help track down "The Tooth Fairy", a mysterious serial killer. Aiding him, is imprisoned forensic psychiatrist Dr. Hannibal "The Cannibal" Lecter.
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.
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
David Fincher is a magician of sorts, he should work in a circus. He does things with his gadgets that are quite extraordinary, but, has absolutely no clue about drama. Based on a tiny, thin, invisible script he builds a theme park ride that gets very tired very soon. All of David Fincher's films look terrific, they all have ambitious intentions but they collapse under the poverty of the scripts. "Seven" is the better one, but still, after you get over the magnificent photography, you're left with a formula used and abused for years. "Fight Club" has a first hour that makes you think in you're in for a real treat. With superb performances by Norton, Pitt and Bonham Carter and then a massive let down. "The Game" was mystical, powerful, mysterious and spine chilling for the whole first part but then... They all have that same common denominator, opportunistic, thoughtless and unimaginative writing. That alone alienates the bulk of their potential audiences. Now "Panic Room" the most blatant example of what I'm trying to convey. No matter how brilliant the camera work, where are the characters? Where is the drama? What was with the husband? What about that semi visit by the police? Unforgivable. I should advice Mr. Fincher to look at films with less gadgetry, even less ambition and take note. From William Wyler's "Desperate Hours" to David Miller's "Midnight Lace" or quite simply look at the sort of writers Alfred Hitchcock worked with, without them Mr. Hitchcock would have been a director of the past not the legendary master for all seasons.
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