A woman is kidnapped by a stranger on a routine flight. Threatened by the potential murder of her father, she is pulled into a plot to assist her captor in offing a politician.
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As a police psychologist works to talk down an ex-con who is threatening to jump from a Manhattan hotel rooftop, the biggest diamond heist ever committed is in motion.
Director:
Asger Leth
Stars:
Sam Worthington,
Mandy Gonzalez,
Jamie Bell
A chronicle of the decade-long hunt for al-Qaeda terrorist leader Osama bin Laden after the September 2001 attacks, and his death at the hands of the Navy S.E.A.L. Team 6 in May 2011.
Director:
Kathryn Bigelow
Stars:
Jessica Chastain,
Mark Strong,
Joel Edgerton
When a madman begins committing horrific murders inspired by Edgar Allan Poe's works, a young Baltimore detective joins forces with Poe to stop him from making his stories a reality.
This is the story of a young resourceful heroine woman named Lisa Reisert who hates to fly, but the terror that awaits her on the night flight to Miami has nothing to do with a fear of flying! Upon boarding the plane, Lisa is trapped on a red-eye flight with a creepy villainous handsome and charming man by the name of Jackson Rippner, who's playing middle-man in the plot to assassinate a Homeland Security official. He's got her father pinned down by a would-be killer, using that advantage to coerce Lisa into phoning the luxury resort where she works and arranging to move the target into a pre-set position. Written by
Anthony Pereyra <hypersonic91@yahoo.com>
Cillian Murphy wanted the role of Jackson so badly that he took a plane from England to Hollywood two days before his wedding to have lunch with Wes Craven. Craven later gave him the part saying that his eyes won him over. See more »
Goofs
You can see when Jackson is throwing Lisa against the walls in the bathroom that he really has his hand behind her head. It was later revealed that Cillian Murphy did this on purpose. In an earlier take, he accidentally knocked Rachel McAdams out and wanted to prevent it from happening again. See more »
Quotes
[first lines]
Marianne Taylor:
Taylor. Bob and Marianne Taylor.
Cynthia:
Just bear with me one second.
Marianne Taylor:
There are other hotels in Miami.
Cynthia:
I'm sorry.
Marianne Taylor:
What is the problem? We made these reservations over six months ago.
Cynthia:
I know, ma'am, I'm just not seeing it.
Marianne Taylor:
Well, where's Lisa? Lisa always takes care of us.
Cynthia:
I know, ma'am. She's out of town. Her grandmother passed away.
Bob Taylor:
Cynthia, is it?
[...] See 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.
45 of 67 people found this review helpful.
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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.