Popularity: 8 (history)
Director: | David Fincher |
---|---|
Writer: | David Koepp |
Staring: |
Trapped in their New York brownstone's panic room, a hidden chamber built as a sanctuary in the event of break-ins, newly divorced Meg Altman and her young daughter Sarah play a deadly game of cat-and-mouse with three intruders - Burnham, Raoul and Junior - during a brutal home invasion. But the room itself is the focal point because what the intruders really want is inside it. | |
Release Date: | Mar 29, 2002 |
---|---|
Director: | David Fincher |
Writer: | David Koepp |
Genres: | Drama, Crime, Thriller |
Keywords | new york city, hostage, bravery, ex husband, safe, burglary, psychological thriller, single mother, home invasion, divorcee, teenage daughter, diabetic, rainstorm, safecracker, seizure, trapped in a house, bearer bonds, secret room, robbery crew, intense, brownstone |
Production Companies | Columbia Pictures, Hofflund/Polone, Indelible Pictures |
Box Office |
Revenue: $197,100,000
Budget: $48,000,000 |
Updates |
Updated: Aug 19, 2025 (Update) Entered: Apr 13, 2024 |
Name | Character |
---|---|
Jodie Foster | Meg Altman |
Kristen Stewart | Sarah Altman |
Forest Whitaker | Burnham |
Dwight Yoakam | Raoul |
Jared Leto | Junior |
Patrick Bauchau | Stephen Altman |
Ann Magnuson | Lydia Lynch |
Ian Buchanan | Evan Kurlander |
Andrew Kevin Walker | Sleepy Neighbor |
Paul Schulze | Officer Keeney |
Mel Rodriguez | Officer Morales |
Richard Conant | SWAT Cop |
Paul Simon | SWAT Cop |
Victor Thrash | SWAT Cop |
Ken Turner | SWAT Cop |
Nicole Kidman | Stephen's Girlfriend on the Phone (voice) (uncredited) |
Ty Copeman | Truck Driver (uncredited |
Name | Job |
---|---|
Conrad W. Hall | Director of Photography |
Laray Mayfield | Casting |
David Fincher | Director |
Dan Bradley | Stunt Coordinator |
Willie D. Burton | Production Sound Mixer |
David Parker | Sound Re-Recording Mixer |
Lora Hirschberg | Sound Re-Recording Mixer |
Alec Gillis | Makeup Effects |
Charlie Brewer | Stunts |
Todd Schneider | Stunts |
David Koepp | Screenplay |
Darius Khondji | Director of Photography |
Angus Wall | Editor |
Ren Klyce | Sound Designer |
Arthur Max | Production Design |
Peter Ramsey | Storyboard Designer, Storyboard Artist |
Howard Shore | Original Music Composer |
Chris Carnel | Stunts |
Pete Turner | Stunts |
Richard Hymns | Sound Supervisor |
Tom Woodruff Jr. | Makeup Effects, Special Effects Makeup Artist |
Michael Silvers | Dialogue Editor |
Steven Lambert | Stunts |
John Hateley | Stunts |
Gwendolyn Yates Whittle | ADR Editor |
Darrin Prescott | Stunts |
Doc Kane | ADR Mixer |
John Roesch | Foley Artist |
Barbara Harris | Loop Group Coordinator |
Ramiro Belgardt | Music Editor |
Linda Matthews | Costume Supervisor |
Keith Neely | Art Direction |
Mark Willsher | Music Editor |
Lisa Jaime | Music Editor |
Frances Mathias | Hairstylist |
Robert McCann | Makeup Artist |
Gary Preece | Transportation Captain |
David C. Hughes | Sound Effects Editor |
Merrick Morton | Still Photographer |
Aaron Pazanti | Camera Operator |
John Venzon | Assistant Editor |
Mike Revell | Production Accountant |
Peter Mavromates | Post Production Supervisor |
Matthew Nelson | First Assistant "B" Camera |
Ewa Sztompke | Dialogue Editor |
Rachel Parsons | Stunts |
Jill Stokesberry | Stunts |
Brandon Cox | Loader |
Mark Hadland | Assistant Chief Lighting Technician |
Danny Stephens | Dolly Grip |
Daniel R. Pemberton | Construction Coordinator |
Scott Puckett | Production Secretary |
Janice Naehu | Producer's Assistant |
Carlos P. Cunha | Production Assistant |
James Haygood | Editor |
John Klepko | Music Editor |
Bob Wagner | Second Assistant Director |
Todd Boekelheide | Sound Re-Recording Mixer |
Ian Kincaid | Chief Lighting Technician |
Leslie McMinn | Visual Effects Coordinator |
Roy 'Bucky' Moore | Property Master |
Denis L. Stewart | Unit Production Manager |
Garrett Lewis | Set Decoration |
Tom Bellfort | ADR Editor |
JoAnn Knox | Visual Effects Producer |
Kevin Tod Haug | Visual Effects Supervisor |
Jon Danniells | Set Decoration |
Alex Olivares | Assistant Editor |
Richard Quinn | Dialogue Editor |
Lanier Edwards | Stunts |
Thirl Haston | Stunts |
John T. Connor | First Assistant "A" Camera |
Scott Hammer | Video Assist Operator |
Scott R. Hankins | Costumer |
Doug Cowden | Key Grip |
Joe Viskocil | Special Effects Supervisor |
Kirsten Anderson | Assistant Accountant |
Erin O'Donnell | Actor's Assistant |
Petter Eldin | Production Assistant |
Katie Watkins | Production Assistant |
John Wright | Craft Service |
Misa Kageyama | Assistant Sound Designer |
Jeanette Browning | ADR Recordist |
Alyson Dee Moore | Foley Artist |
Olivier Cauwet | CG Supervisor |
Richard Palmieri | CG Artist |
Vicki Galloway Weimer | Digital Effects Producer |
S. Quinn | Pre-Visualization Coordinator |
Alec Gillis | Special Effects Makeup Artist |
Mike Topoozian | First Assistant Director |
Christie Cean George | Casting Assistant |
Daren Hicks | Production Coordinator |
Sharron Reynolds-Enriquez | Script Supervisor |
Julie L. Pearce | Key Makeup Artist |
James E. Tocci | Art Direction |
Ray De La Motte | Camera Operator |
Carla S. Nemec | Art Department Coordinator |
Marvin E. Lewis | Boom Operator |
Edward Morrison | Key Hair Stylist |
Andy Epper | Stunts |
Cliff McLaughlin | Stunts |
Lisa Guerriero | Second Assistant "A" Camera |
Terry Anderson | Costumer |
Walter Royle | Best Boy Grip |
Bryce Moore | Assistant Property Master |
Orlando R. Gonzales | Assistant Production Coordinator |
Maria Mantia | Second Second Assistant Director |
Jason Cox | Production Assistant |
Stephen B. Howard | Production Assistant |
Richard West | Transportation Co-Captain |
Judith M. Brown | Studio Teacher |
Malcolm Fife | Foley Supervisor |
Karen Brocco | Assistant Dialogue Editor |
Edward J. Hernandez | ADR Engineer |
Mary Jo Lang | Foley Mixer |
Raymond Gieringer | Visual Effects Supervisor |
Delahaye Bonnell | CG Artist |
Dupuis Verbeke | CG Artist |
Akira Orikasa | Lead Animator |
Robert Todd Skaggs | Production Assistant |
Michael Kehoe | Craft Service |
Robert W. Sanders | Set Medic |
Eric B. Dachs | Assistant Sound Designer |
Carolyn Tapp | Foley Recordist |
Persis Reynolds | Visual Effects Producer |
Boudaille Alves | CG Artist |
David Ebner | Digital Effects Supervisor |
Ron Frankel | Pre-Visualization Supervisor |
Gabriel Vargas | Animation |
Stephen Nakamura | Digital Color Timer, Color Timer |
Kevin Derr | Stunts |
John H. Maxwell | On Set Dresser |
John Kurlander | Score Engineer |
Mark Curry | Sound Engineer |
Michael Hatton | Compositing Supervisor |
Natalie Leggett | Musician |
Don Williams | Musician |
Michael Tremante | Music Producer |
David Gleeson | Music Producer |
Liane Mautner | Musician |
Michael Kaplan | Costume Designer |
Name | Title |
---|---|
Ceán Chaffin | Producer |
David Koepp | Producer |
Gavin Polone | Producer |
Judy Hofflund | Producer |
John S. Dorsey | Associate Producer |
Organization | Category | Person |
---|
Popularity History
Year | Month | Avg | Max | Min |
---|---|---|---|---|
2024 | 4 | 39 | 55 | 23 |
2024 | 5 | 45 | 84 | 29 |
2024 | 6 | 31 | 54 | 22 |
2024 | 7 | 32 | 69 | 19 |
2024 | 8 | 33 | 50 | 22 |
2024 | 9 | 26 | 44 | 18 |
2024 | 10 | 28 | 54 | 17 |
2024 | 11 | 28 | 56 | 17 |
2024 | 12 | 28 | 51 | 19 |
2025 | 1 | 33 | 67 | 20 |
2025 | 2 | 34 | 58 | 6 |
2025 | 3 | 12 | 39 | 3 |
2025 | 4 | 6 | 10 | 5 |
2025 | 5 | 6 | 11 | 3 |
2025 | 6 | 5 | 8 | 3 |
2025 | 7 | 4 | 7 | 3 |
2025 | 8 | 4 | 6 | 3 |
2025 | 9 | 7 | 8 | 7 |
Trending Position
Year | Month | High | Avg |
---|---|---|---|
2025 | 9 | 524 | 750 |
Year | Month | High | Avg |
---|---|---|---|
2025 | 8 | 330 | 748 |
Year | Month | High | Avg |
---|---|---|---|
2025 | 7 | 573 | 767 |
Year | Month | High | Avg |
---|---|---|---|
2025 | 6 | 516 | 758 |
Year | Month | High | Avg |
---|---|---|---|
2025 | 5 | 446 | 757 |
Year | Month | High | Avg |
---|---|---|---|
2025 | 4 | 196 | 630 |
Year | Month | High | Avg |
---|---|---|---|
2025 | 3 | 146 | 585 |
Year | Month | High | Avg |
---|---|---|---|
2025 | 2 | 30 | 176 |
Year | Month | High | Avg |
---|---|---|---|
2025 | 1 | 232 | 588 |
Year | Month | High | Avg |
---|---|---|---|
2024 | 12 | 869 | 918 |
Year | Month | High | Avg |
---|---|---|---|
2024 | 11 | 451 | 727 |
Year | Month | High | Avg |
---|---|---|---|
2024 | 9 | 869 | 897 |
Fincher's often derided thriller demands repeat viewings. Meg Altman and her daughter Sarah, move into a vast Brownstone home, this place is unique because it has a panic room, a room of safety from where no intruders can gain access. Sure enough on their first night in their new home, they are f ... orced to flee to the room as three intruders break in to the house, but trouble is, is that what the intruders want is in the panic room itself. From the off we know that Panic Room is going to be oozing David Fincher stylishness, the opening credits sprawled across the Manhattan skyscrape like advertising billboards, perfectly set the tone for the movie to follow. I personally think that following on from the harshness and ingenuity of "Fight Club", many were surprised at the simplicity of Panic Room's structure, this is after all a straight forward cat and mousery thriller set in one foreboding building. Yet Fincher gains much claustrophobia from such a large building setting, managing to rack up the tension in every reel. The film, in spite of the oppressive nature of the story, never sits still either. The action kicks in from the off and through a series of devilish stunts, it continues through to the pulse raising finale. The David Koepp screenplay does not seem dark enough on the first viewing, because some of the interplay between the three intruders is actually jocular, but it never loses sight of its thriller heart. Subsequent revisits to the film reveal it to be a tightly constructed character piece, in what is practically a five character story. The real winner in that department is Jodie Foster's Meg Altman, it would have been easy for the character to be ground out as some super heroine, with death defying feats of courage masking her out as wonder woman, but Fincher has her pure and simply as a resourceful human being. She's fiercely maternal and strong and intelligent, but at her core she remains fallible, and with that she becomes believable. The other big plus point in the film is Fincher's use of the house, where his camera glides about like a phantom, a ghostly observer to the unfolding proceedings. In and out of locks and coffee pots, up and down stairs, tilts, as we track the movements of the intruders, Fincher isn't showing off, he's putting us the viewer into the mix as well. Cast are very good, Jodie Foster, Forest Whitaker, Jared Leto and a surprisingly potent Dwight Yoakam all come together very well under Fincher's watchful eye, whilst young Kristen Stewart as Sarah puts much emotive heart into a role that could so easily have been too syrupy approaching the final act. Yes it's fair to say that one has to suspend disbelief, this is after all a home invasion thriller following a true course, but in Fincher's hands it rises above cliché to thrive on atmospherics and character dynamics. Well put together and big on ticking time bomb tension, Panic Room gets better on repeat viewings. 8/10
Not a bad movie. She gets this new big house that she is building up. The guys working on the house come up with a plan to rob the panic room. Until the owner and her family lock themselves in the panic room to get away from them. ...
I recommend this movie for a fun and enjoyable watch, as it has a cute and engaging storyline. While the characters may not be very memorable, the film still offers a good time. There are instances where the movie could benefit from less dialogue and more adventure, perhaps cutting down on certai ... n cartoonish elements. This adjustment could enhance the overall experience and make it more captivating for the audience. It's a great movie for kids to watch and have a good time with, although the characters may not leave a lasting impression. Dark, in particular, stands out as a potentially memorable character, while the lead character may fade from memory over time. Despite its shortcomings, the movie is entertaining and worth watching, especially for a casual viewing session. While it may not be a film you'd revisit often, it can serve as a pleasant distraction or background entertainment during chores or other activities