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>
Following special advance screenings of the movie in Los Angeles and New York, audiences were given replica copies of the monster pen used in the movie as memorabilia. Attached to the souvenir was a tag that read: "Red Eye, in theaters August 19th." On the back read: "Don't take the red eye without this... www.redeye-themovie.com." See more »
(at around 59 mins) When Jack sees Lisa in the airport reading the magazine while hiding from the police there are two men sitting at a table having drinks, but when Jack starts to run after her the men and the table are both gone. 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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