Flightplan
It is a testament to the sheer technical filmmaking skills of the shooting crew that this movie is as entertaining as it was. All the acting was impeccable; the airplane set was amazing, interesting, and claustrophobic even with its absurd size. The cinematography and editing were eye-catching and kept your heart beating. The story structure, by which I mean the tension and release rhythm and teasing out of information, was well-paced and stimulating. What you don’t necessarily realize while you’re riding the ride, however, is that the actual story, the actual plot device that makes this whole wheel turn, is absolutely retarded. I mean, seriously, deeply flawed in a fundamentally silly way. I am wavering between Rental With Snacks as a punishment for the writing, or Matinee Price for how successfully they overcame that obstacle.
Like with Red Eye, while my butt was actually in the theatre seat, I was having a good time, as was whoever I was with for each film. It was only upon reflection that I realized all the myriad flaws that had slipped by my notice as I was gripped by the performances. Ah, acting, what can’t you do? I suppose we should be grateful; for the past couple of years, most movies have been unbearable to watch while they were happening, rather than just retrospectively less than recommendable. Let’s hope that in another 10 years of aggressive test marketing, mainstream movies will actually be good across the board one day.
Due in part to Jodie Foster’s infrequent filmmaking, and due to the fact that the marketing campaigns are so similar, it would be easy to write off Flightplan as just Panic Room in a plane. However, in Panic Room, Foster’s got home field and her kid with her, and nothing really mysterious is happening. I think if this film had engaged in a little more dramatic irony and a little less feces ex machina, it might have flown better. It actually made me a little sad after seeing the movie to deconstruct exactly how not-good it was.
Jodie Foster is utterly committed to this role, and you believe her, heart and soul, you feel her terror, her fury, everything. Peter Sarsgaard, with his calm, lazy expression, is a great acting foil to Foster’s wide-eyed hysteria. We delight in his complex role as someone trying to be sympathetic but authoritative. Plane captain Sean Bean also provides a grounding of sense and realtity with his performance. The awkward red-herrings about Arab passengers and other fears people have while flying these days don’t get resolved so much as nodded at and then ignored.
If you can forgive the story for being what it is, as I could not, you will probably get your money’s worth out of this film. The acting really is great, the shooting, everything else. When will they ever learn?
MPAA Rating PG-13
Release date 9/23/05
Time in minutes 93
Director Robert Schwentke
Studio Touchstone Pictures
