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.
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Red Eye är inte den typen av film som kommer att vinna Palme D'or, men Wes Craven har aldrig varit den typen av regissör, i alla fall, och hans varumärke är en bra indikation på vad en film-besökare kan förvänta sig. Det faktum att Red Eye är ett tätt litet, oefterfrågat paket på 94 minuter är en del av dess charm och en indikation på Cravens hantverk i att producera lätt, men generellt njutbart, biljettpris. Faktum är att det är den perfekta typen av film att visa som inflight underhållning, uppmärksamhet-hållande utan att sätta några intellektuella eller känslomässiga utmaningar på tittaren. Sammantaget finns en cheesy känsla till handlingen, vag terrorist subplot motivation och de stödjande karaktärerna, och huvudavsnittet har en TV-film känsla. Det finns dock bestämda inslag av hitchcockiansk spänning, och ekon av Schumachers telefonbooth, som i slutändan är en mer sofistikerad (och pretentiös) pjäs på samma idé om känslomässig kris som utspelas undertryckt offentligt. För en film som främst fokuserar på två personer som sitter i flygsäten lever den eller dör på karaktärerna och manuset. Cillians iskalla men vältaliga Jackson Rippner och Rachel MacAdams påhittiga Lisa är de främsta anledningarna till att filmen blir bortförd. Inte bara att göra dialogen svingande utan också att ge någon form av Adams Rib-dimension till deras kamp om "manlig logik" mot feminin "känslighet". I den sista delen av filmen unnar sig Craven en liten Skrikstil som man-chases-girl-med-kniv. Den mest överraskande uppenbarelsen här är hur Brian Cox ser ut efter behandlingen "Just for Men", hans mångskiftande framträdande i filmer så olika som Super Troopers, Ringen och detta gör honom till den sexegenariska versionen av Jude Law. Det är en kort match. Hur skulle du beskriva känslan av denna recension? ALTERNATIV: - negativ - positiv
Red Eye is not the type of film that will win Palme D'or, but Wes Craven has never been that type of director, anyway, and his brand is a good indication of what a film-goer can expect. The fact that Red Eye is a densely small, unsolicited package of 94 minutes is part of its charm and an indication of Craven's craft in producing light, but generally enjoyable, fare. In fact, it is the perfect kind of film to show as inflight entertainment, attention-keeping without putting any intellectual or emotional challenges on the viewer. Overall, there is a cheesesy feeling to the action, vague terrorist subplot motivation and the supporting characters, and the main episode has a TV movie feel. However, there are definite elements of Hitchcockian tension, and echoes of Schumacher's phone booth, which is ultimately a more sophisticated (and pretentious) play on the same idea of emotional crisis set publicly. For a film that focuses primarily on two people sitting in airseats, it lives or dies on the characters and script. Cillian's icy but eloquent Jackson Rippner and Rachel MacAdam's resourceful Lisa are the main reasons the film is abducted. Not only to make the dialogue swinging but also to give some form of Adam's Rib dimension to their struggle for "male logic" against feminine "sensitivity". In the final part of the film Craven enjoys a small Scream style as a man-chases-girl-with-knife. The most surprising revelation here is what Brian Cox looks like after the treatment "Just for Men", his diverse performance in films as diverse as Super Troopers, the Ring and this makes him the sex-genarian version of Jude Law. It's a short game. How would you describe the feeling of this review? ALTERNATIVE: - negative - positive
positiv
positive