You know how angry, frustrated and anxious you get when an airline loses your luggage? Well, imagine being on a plane with your child when you awaken from a brief nap only to discover that your offspring is missing.
To compound matters further, imagine that no one remembers seeing your child on board and all passenger lists and appropriate documentation lead to a conclusion that your child never set foot in the flying tube 30,000 feet above the Atlantic.
That is the premise behind the new Jodie Foster (Nell) film Flightplan that delivers just enough thrills and spills to squeeze out a three star rating from his critic.
Reprising the claustrophobic atmosphere of her last starring vehicle, Panic Room, Foster stars as Kyle, as recent widower that decides to take her 6-year-old daughter back to America from Berlin to escape the memories surrounding her husbands tragic suicide.
However, after catching a little shuteye at the back of the plane, Kyle awakens to discover that her daughter is missing and that no one recalls ever seeing young Julia on board.
Is she crazy? Is it a conspiracy? Does Julia exist or is this all some kind of a bad dream Twilight Zone episode that will end with Patrick Duffy lathering up in a shower? The game, as we say, is afoot and Kyle, under the very watchful eye of Air Marshall Carson (Peter Sarsgaard) runs up and down the AIR E-474 jumbo jet in a frantic attempt to try and convince others that her daughter is on board and that conspirators are attempting to conceal her whereabouts for reasons unknown.
This is the second thriller set aboard a jetliner in just two months the other being Red Eye and Flightplan does just as good a job of instilling fear and tension aboard a vessel where mobility, options and hiding places are limited between the nose and tail of the aircraft. Flightplan does find a way to up the ante by putting us aboard a monstrous flying machine. This AALTO Air E-474 can seat as many as 800 passengers and has two stories, 7 galleys, crew quarters and a cockpit larger than my apartment. This allows the characters therefore to run up and down aisles and makes the disappearance of a small girl more believable due to the many small rooms and electrical hardware gadgetry spread out throughout the quarters.
Flightplan had just enough good points to out number the bad but not by much. First and foremost at the front of the line was the incredible performance of Foster in the lead role. Channeling emotions evoked if she had lost her own daughter, Foster delivers a knockout performance that was as strong as any female lead in a thriller film since Sigourney Weaver strapped on the weaponry and stood up to the queen alien.
Also notable was the support staff that is each believable in their respective roles. Peter Sarsgaard continues to put in one good performance after another and everyone from Sean Bean (who finally, FINALLY makes it to the end credits of a film without being killed!) to Erika Christensen (Traffic) are provided just enough screen time to advance the story without having anyone go over the top in an attempt to steal the spotlight.
That's the good. The bad includes a bad guy who has what I call the Bond-villain syndrome whereas he feels he has to talk out loud revealing more than anyone in the same situation would for the purposes of ensuring us dumb audiences know the who's how's and what's behind the plot, and an ending that is kinda bumpy landing after such a long flight.
However, director Robert Schwentke does a good job of rising above most of the screenplay's shortfalls and delivers a Hitchcockian caper that is well worth the price of admission even if you will hardly remember most of the plot points by the time you see it on the DVD shelves early next year.
www.gregsreviews.com
To compound matters further, imagine that no one remembers seeing your child on board and all passenger lists and appropriate documentation lead to a conclusion that your child never set foot in the flying tube 30,000 feet above the Atlantic.
That is the premise behind the new Jodie Foster (Nell) film Flightplan that delivers just enough thrills and spills to squeeze out a three star rating from his critic.
Reprising the claustrophobic atmosphere of her last starring vehicle, Panic Room, Foster stars as Kyle, as recent widower that decides to take her 6-year-old daughter back to America from Berlin to escape the memories surrounding her husbands tragic suicide.
However, after catching a little shuteye at the back of the plane, Kyle awakens to discover that her daughter is missing and that no one recalls ever seeing young Julia on board.
Is she crazy? Is it a conspiracy? Does Julia exist or is this all some kind of a bad dream Twilight Zone episode that will end with Patrick Duffy lathering up in a shower? The game, as we say, is afoot and Kyle, under the very watchful eye of Air Marshall Carson (Peter Sarsgaard) runs up and down the AIR E-474 jumbo jet in a frantic attempt to try and convince others that her daughter is on board and that conspirators are attempting to conceal her whereabouts for reasons unknown.
This is the second thriller set aboard a jetliner in just two months the other being Red Eye and Flightplan does just as good a job of instilling fear and tension aboard a vessel where mobility, options and hiding places are limited between the nose and tail of the aircraft. Flightplan does find a way to up the ante by putting us aboard a monstrous flying machine. This AALTO Air E-474 can seat as many as 800 passengers and has two stories, 7 galleys, crew quarters and a cockpit larger than my apartment. This allows the characters therefore to run up and down aisles and makes the disappearance of a small girl more believable due to the many small rooms and electrical hardware gadgetry spread out throughout the quarters.
Flightplan had just enough good points to out number the bad but not by much. First and foremost at the front of the line was the incredible performance of Foster in the lead role. Channeling emotions evoked if she had lost her own daughter, Foster delivers a knockout performance that was as strong as any female lead in a thriller film since Sigourney Weaver strapped on the weaponry and stood up to the queen alien.
Also notable was the support staff that is each believable in their respective roles. Peter Sarsgaard continues to put in one good performance after another and everyone from Sean Bean (who finally, FINALLY makes it to the end credits of a film without being killed!) to Erika Christensen (Traffic) are provided just enough screen time to advance the story without having anyone go over the top in an attempt to steal the spotlight.
That's the good. The bad includes a bad guy who has what I call the Bond-villain syndrome whereas he feels he has to talk out loud revealing more than anyone in the same situation would for the purposes of ensuring us dumb audiences know the who's how's and what's behind the plot, and an ending that is kinda bumpy landing after such a long flight.
However, director Robert Schwentke does a good job of rising above most of the screenplay's shortfalls and delivers a Hitchcockian caper that is well worth the price of admission even if you will hardly remember most of the plot points by the time you see it on the DVD shelves early next year.
www.gregsreviews.com