Red Eye

Wes Craven's psychological thriller "Red Eye" isn't something we haven't already seen, but the standard format actually generates into a tight, snappy and gripping experience. After breaking away from its vulnerable, claustrophobic intensity. Craven effectively heightens the suspense, for a heart stopping and dazzling last-half potboiler, despite some elaborate and questionable details. This is sure a different mood for Craven, and you probably wouldn't know it was he behind it. Being short and sweet makes the flying time go by in no time. Quantity seems to be replaced with quality, but still this is a streamlined lightweight commercial flight for audiences. The taut premise builds up nicely, because of an always engagingly sharp and sly script. However it does seem to get quite silly, and overstated towards the spontaneous closing. Even the whole set-up is very wishy-washy. One of its driving factors were the profound lead performances. The lovely Rachael McAdams gives a dedicated, headstrong performance. Opposite of her is a sensationally suave, but sinisterly steely Cillian Murphy. The two gelled very well, and their back-and-forth banter was expertly delivered. Veteran actor Brian Cox provides some solidarity, and pleasant support. The cracking music score by Marco Beltrami demonstrates slick panache, and well-timed cues. Craven and his two leads; McAdams and Murphy lift this one up a notch.

Every now and then you stumble upon a movie that you've never heard of, but that manages to catch your attention with a plot that's intriguing. In this case, it's about a woman on a late night flight who gets caught up somehow in a plot to assassinate the Deputy Secretary of Homeland Security.

The woman is Lisa (played by Rachel McAdams.) Lisa is the manager of a fancy hotel in Miami where the Deputy Secretary stays when in the city. In the airport, waiting for her flight, Lisa is befriended by Jack (Cillian Murphy.) Jack is a friendly guy, basically seeming to be interested in hitting it off with a pretty woman like Lisa. And yet, it's clear from the start that there's something not quite right with the character; something creepy - even sinister. Murphy did a great job with this character. He, of course, is involved with the plot. His job is to coerce Lisa into using her clout as manager to change the Deputy Secretary's room to on where he'll be more vulnerable.

The whole thing leads up to a pretty exciting last 20-30 minutes, from the point at which Lisa manages to escape from Jack, and it turns into a pretty typical pursuit sort of movie as Jack chases Lisa (and sometimes Lisa chases Jack.) That's standard in a lot of ways, but still pretty well down, and it has you on the edge of your seat from time to time, waiting to see how it will turn out.

Director Wes Craven did a decent job of building the suspense in this. It starts out a bit slowly, but builds magnificently to that very exciting end, and in a lot of ways this has an underlying and very appropriate tongue in cheek feel to it, and it ends on a humorous note, going back to an obnoxious couple staying at the hotel, who are none too pleased that they've been inconvenienced by the assassination attempt. Overall, this is very well done. (7/10)

Unsurprisingly, one of Craven's lesser known features. Mostly due to its non-horror nature, with a severe lack of masked murderers and nightmarish masters. But that doesn't necessarily mean this thrilling flight should be dismissed, as its simplistic disposable nature provides some quality mid-air entertainment. A hotel manager, travelling on the red-eye flight to Miami, is tangled up in an assassination plot regarding one of her clients.

The plot is relatively straightforward, and severely undercooked to the point that its only purpose is to serve these two beautiful passengers a topic to discuss during their flight. The assassination attempt on Charles Keefe certainly holds no tension or substance. What this strand does provide though, is a more personal circumstance that gradually ramps up the thrills.

The gorgeously intelligent McAdams against the irrefutably handsome Murphy. A game of wits and beauty. Sleight of hand distractions to waste time and constructive messages sent to signal for help. Alas, her non-compliance may result in her father being assassinated also, which just made the situation extremely personal. This ultimatum, although tepid in ferocity due to the short runtime that meant Craven had to constantly prevent the story from stalling, certainly showcased some brilliant claustrophobic performances from the two leads. With McAdams breaking the "damsel in distress" archetype and Murphy harnessing his antagonistic intensity.

The flight itself was occasionally bumpy due to a turbulent script and the 90s aesthetic, but when that plane lands. Ooof! Go go go! We're firing all cylinders. This just went from 'Flight Simulator 98' to 'Top Gun' on amphetamines. McAdams is fleeing to save her father, Murphy is doing his best Gollum impression and Craven just keeps moving forward. No time for a Starbuck's at the airport. Drive down that freeway like a maniac and save the hotel! Oh, and the father. Sweet lord do I miss these brisk thrillers! Even Beltrami's notable score wafts the aroma of restlessness around the cabin.

Red Eye is apparently described to be psychological in nature. It's not. In the slightest. What it is though is a straight-forward disposable thriller that is here for a good time, not a long time. Plausible characters, claustrophobic environment and an intense third act results in a criminally overlooked film from Craven's catalogue.

Not a bad movie, but once it got to the halfway point it seemed like too much was crammed into a short period of time. Felt too short. The story does have some memorable parts. Nice little PG-13 thriller. Odd viewing it for the first time after 20 years of it being released. I was mildly surprised to have never heard of it with big names (in the present) like Rachel McAdams and Cillian Murphy. Parts of it are kinda hollow. One sad attempt at a side story personalization is with a little girl on the flight. It was a typical early 2000s context focus on an irrelevant character. Honestly thinking now this seems almost like a way to get younger audience members involved in the story. There's a small degree of cheesiness. But as having been very much alive during the time period it made nostalgic for those days. Captured the feeling of airports and air travel that I've grown up with. If there was more time given to the filmmaker to develop the second half of the story so it doesn't feel so rushed I would enjoy it much more.

Red Eye is not the kind of movie that's going to win the Palme D'or, but Wes Craven has never been that kind of director, anyway, and his branding is a good indication of what a film-goer can expect.

The fact that Red Eye is a tight little, undemanding package at 94 minutes is part of its charm and an indication of Craven's craft in producing lightweight, but generally enjoyable, box office fare. In fact, it's the perfect kind of movie to show as inflight entertainment, attention-holding without putting any intellectual or emotional challenges on the viewer.

Overall there is a cheesy feeling to the plot, vague terrorist subplot motivation and the supporting characters, and the main section has a TV movie feel. However, there are definite elements of Hitchcockian suspense, and echoes of Schumacher's Phone Booth, which ultimately is a more sophisticated (and pretentious) play on the same idea of emotional crisis being played out suppressed in public.

For a film that focuses mainly on two people sitting in airline seats, it lives or dies on the characters and script. Cillian's icy but eloquent Jackson Rippner and Rachel MacAdams resourceful Lisa are the main reasons the film gets carried off. Not only making the dialogue zing but also giving some sort of Adam's Rib type dimension to their battle of 'male logic' against feminine 'sensitivity'.

In the final portion of the film Craven indulges himself a little Scream style as man-chases-girl-with-knife. The most surprising revelation here is what Brian Cox looks like after the 'Just for Men' treatment, his ubiqutous appearance in films as diverse as Super Troopers, The Ring and this making him the sexegenarian version of Jude Law.

Short haul fun.