Take the early flights. They always go by without a problem.
Lisa Reisart (Rachel McAdams) is a very busy girl who, when she’s not juggling time as the manager of very high-end hotel, is trying to keep up-to-speed with her dad and the rest of her family. However, she gets the sad news that her Grand-mom has just died and makes plans to flight out there to see her dad, as well as the funeral itself. Lisa gets on the plane without many problems, and it’s made even better by the fact that she’s met a guy (Cillian Murphy), who is quite charming in his own way. As they continue talking and the vodka gets consumed, Lisa begins to find out more and more about this mysterious man she just met at an airport and begins to realize that he met her for a reason; a reason that not only concerns her life, but a loved-one of hers as well.
More movies like Red Eye should be made nowadays. Why do I say that? It’s all pretty simple: It’s an 85-minute thriller, that is practically shot in real-time, features an understandable premise, keeps to it, and has us involved just about every step of the way. That’s why.
That said, it’s not a very sophisticated movie meant for heavy-thinkers, or for people who like to hold up each and every movie to some sort of cultural-significance of some sort; it’s the type of movie that you sit down, with or without others around you, get a bag of popcorn, watch, and just enjoy the hell out of. It’s not on the screen for a long time, so it’s almost impossible to get bored. And if you do, then I hate to say that you’re just not human.
Then again though, I’ve been accused of the same thing too, so you’re not alone if that’s the case. What is the case here is that this is surprisingly directed from Wes Craven, which is “surprising” because it’s not necessarily a horror flick. Granted, Craven has dipped his pen into some “different” genre flicks before that weren’t just about Freddy Kruger or serial-rapists in the woods, but this one interested me because it had all of the conventions of what would set-up a very good horror flick, but decided to keep it at base with a thriller-approach.
For instance, the baddie here isn’t just a psycho who wants blood as the main course of his meal, or even craves human-flesh as a side-dish; instead, he’s more or less a terrorist that has a plan, is going to stick to it, and may even hold up his own end of the bargain. In that sense, Craven keeps the villain very humane, even if he is a totally evil son-of-a-bitch. Almost the type of evil son-of-a-bitch you could meet on the street, or, dare I say it, THE AIRPORT!!!
But what Craven does with this material is fun and great because he seems to really enjoy playing with the conventions of what we expect from a normal, run-of-the-mill thriller, as well as playing with us, the audience. Events in this movie that we expect to happen in our own mind-sets, sometimes don’t happen exactly the way we have as planned. And when they do, it actually feels deserved, rather than obvious or cliché. It almost feels as if Craven himself knows the ground-work that needs to be made for a good thriller, even if he doesn’t care to follow all of the steps that would make it differentiate from lesser-flicks of the same genre he’s toying with.
Basically, watching Craven do what he does best is a joyous time, no matter how you see it.
Is there anything really deeper or more thought-provoking to this material? Maybe. Much to my surprise, I found there to be a lot of post-9/11 paranoia here that made the flick seemed like it was trying to say more, but maybe it was just my imagination. It most likely was, but I wouldn’t have been surprised if Craven decided to throw some hints and clues in there as well. The guy surely is cheeky and even though this flick doesn’t play out in the type of tongue-in-cheek way most of his flicks surprisingly do, he keeps it just serious enough to be taken in as an actual thriller, with high-stakes involved, as well as just goofy and light enough to where you feel yourself thrilled by every move some character makes, whether it be a drastic or a regular one. Seriously, I was on board the whole time, and that’s really saying something for a movie as bare as this.
Most of the credit does have to go to it’s two main stars here, especially considering that the whole movie is all about them, pretty much all of the time. Rachel McAdams plays pretty much two emotions the whole film (anger and fear), however, she handles both of them like a champ and gives us a character that’s smarter than she appears to be, especially when she’s thrown up in a corner at times, both literally and figuratively. She has a type of presence to her that makes her sweet and sassy, but also very knowing of her surroundings and watching her performance here makes me wish she made better decisions with her career as of late, rather than just trying to be “the next Julia Roberts” as some have touted her as being, I don’t quite see it, but hey, that’s just me. Take it or leave it.
As for Cillian Murphy, well, the dude’s been pretty much doing the same thing with his career ever since he first started out and it shows no problems whatsoever, mainly because he’s actually good at playing these slight odd, off-kilter types with an ounce of craziness in their systems. Murphy’s good here because he keeps you guessing, especially since you don’t quite have a full idea of what his plan’s going to fully be up until the final five minutes, and that’s why he’s so watchable. He’s a bad dude, that’s for sure, but he’s an interesting one and I think that’s more of a credit to Murphy’s acting skills, than the script itself, as minor as it is.
Consensus: The thriller-genre wasn’t shaken-up by Red Eye and it never will be, but it sure as hell is still worth the watch because it’s fun, quick, suspenseful, unpredictable in spots, well-acted by both McAdams and Murphy who command the screen as well as your attention, and shows one of the greats at the top of his “playful game”.
8 / 10 = Matinee!!
Photo’s Credit to: Thecia.Com.Au