Panic Room, the 2002 film by David Finch, is a prime example of a close-quarters thriller. Now I am biased in favor of this type of movie—limited set and location, small cast, tight focus—to begin with; Sleuth, from 1972 and again in 2007, is another excellent example. It forces the filmmakers to focus more than usual on their craft, storytelling, acting, etc., and less on spectacle. Read the rest of this entry
“I am Jack’s smirking revenge”
The second film in our David Fincher spotlight is…you do not talk about Fight Club. Which will make this rather difficult, so I’m going to break that rule at the risk of incurring the wrath of Tyler Durden. Read the rest of this entry
“You’ve been in my life so long, I don’t know anything else.”
This month’s Director’s Spotlight takes a look at David Fincher. We are starting this off with a movie that has been overlooked by a lot of people, myself included, Alien 3. I am going to be talking about some things from Alien 3 that are definitely spoilers for people who haven’t seen it. This movie tends to get a lot of flack for being the third in the franchise and for what it did to certain characters from the blockbuster hit sequel Aliens. You have been warned.
Remakes are tricky business. The rules have been thrown out the window, but back in the day the rule of thumb was that you waited long enough a) for people to have forgotten about the original, b) for people to have properly digested, processed, and internalized the original enough to dream up an interesting reinterpretation, or c) at least until the next generation (i.e., the next graduating class of film school) comes along with fresh eyes and a new perspective on the story. David Fincher’s The Girl With the Dragon Tattoo, a 2011 remake of a 2009 TV miniseries based on a 2005 novel, of course, satisfies none of these rules, but that’s okay because it’s David Fincher, right?