This is the story of a young resourceful heroine 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 <email@example.com>
Presidents or (in this case) Homeland Security can be moved to another location if the secret service are not satisfied with hotel security arrangements or if there's an incident. One of them even recommends the Miami Hilton in the film just because the room was changed. They have up to 200 secret service agents and metal detectors. Agents can be disguised to root out anyone who looks suspicious, not on a list, wearing legitimate ID, who may be a terrorist and concealing weapons. They're trained in the martial arts, equipped with handguns and Uzis (handheld machine guns), sign to each other if they need to be quiet, speak in code indicating levels of danger, frisk anyone who comes in, wear bulletproof vests, have radios or pins on their lapels and always ready to make an arrest. But they are trained to be polite and discreet. Reporter have to have an appointment to see the president. They can even cancel an event if need be. See more »
The aircraft cabin is that of a 767 (2-3-2 Seating) however when they show the cabin door to the jetway it is one that swings open. A 767 door is motorized and slides up above the ceiling panels. 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.
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