Never averse to glistening darkness, meaty metaphor or grandiloquent technical display, Fincher is also surprisingly at home with hokum. Less far-fetched than The Game, this is at once less imaginative and more routine. It’s a tight, very efficient reworking of women-in-peril motifs, notably from Wait Until Dark, with a number of nods to Hitchcock’s Dial M for Murder and Rear Window. Fincher handles the contours of the script as smoothly as the camera passes through plumbing and keyholes; while Jodie ably conveys the tight-lipped anxiety, resourcefulness and lithe strength familiar from her later roles.
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