"Air Force One Down" (2024) marks an adventurous, albeit turbulent, foray into the action-thriller genre, aiming to join the ranks of its high-altitude predecessors with a mix of high stakes and high-flying heroics. The film introduces us to Allison Miles, portrayed with resilience and tenacity by Katherine McNamara, a newly minted member of the Secret Service thrust into the deep end on her very first day. Her assignment? Protect the President, played with suitable gravitas by Ian Bohen, aboard the most famous aircraft in the world, Air Force One. However, the mission spirals into chaos when the plane is hijacked by a rogue general with grandiose plans to disrupt international peace.
The narrative ambition of "Air Force One Down" is clear, stitching together elements familiar to fans of the genre: a confined yet iconic setting, a clear and present danger, and a protagonist with everything to prove. McNamara's Miles is engineered to be the archetype of the modern action hero - skilled, determined, and morally unassailable. She navigates through the script's gymnastics with a performance that somewhat alleviates the burden of its more incredulous leaps in logic and physics. Her ability to dispatch adversaries twice her size, while commendable, occasionally ventures into the realm of the improbable, especially when considering the film's inconsistent adherence to the laws of reality.
The film's dialogue and plot developments occasionally stumble, veering into territories that could charitably be described as cheesy. At times, the screenplay seems more focused on cementing McNamara's hero status than on fostering any semblance of realism or character depth. This approach is emblematic of a broader issue within the film - a tendency to prioritize spectacle over substance, a decision that undermines the stakes by making outcomes feel preordained rather than hard-won.
Yet, "Air Force One Down" does manage to deliver a handful of well-crafted action sequences. The choreography and execution of these moments are commendable, showcasing McNamara's physicality and the stunt team's creativity. However, these scenes are sometimes marred by cinematographic choices that detract from their impact, including shaky camera work and an overreliance on visual effects that strain credulity.
The film's controversial moments, including a gratuitous scene that reduces McNamara to an object of gaze rather than a competent agent, point to a missed opportunity to elevate the narrative beyond the trappings of genre clichés. Such choices not only date the film but also detract from its efforts to present a strong, independent female lead.
In conclusion, "Air Force One Down" navigates a precarious flight path, buoyed by McNamara's performance but weighed down by a script that often feels disconnected from the grounded, gritty realism that defines the best entries in the action-thriller category. While it may offer a diverting experience for genre aficionados, the film struggles to reach the heights of its ambitious premise. In the ledger of airborne action films, it registers more as a missed opportunity than a new classic. Reflecting on its overall execution and impact, I would rate "Air Force One Down" a 5 out of 10, aligning with a perspective that recognizes its strengths but remains acutely aware of its turbulence.
The narrative ambition of "Air Force One Down" is clear, stitching together elements familiar to fans of the genre: a confined yet iconic setting, a clear and present danger, and a protagonist with everything to prove. McNamara's Miles is engineered to be the archetype of the modern action hero - skilled, determined, and morally unassailable. She navigates through the script's gymnastics with a performance that somewhat alleviates the burden of its more incredulous leaps in logic and physics. Her ability to dispatch adversaries twice her size, while commendable, occasionally ventures into the realm of the improbable, especially when considering the film's inconsistent adherence to the laws of reality.
The film's dialogue and plot developments occasionally stumble, veering into territories that could charitably be described as cheesy. At times, the screenplay seems more focused on cementing McNamara's hero status than on fostering any semblance of realism or character depth. This approach is emblematic of a broader issue within the film - a tendency to prioritize spectacle over substance, a decision that undermines the stakes by making outcomes feel preordained rather than hard-won.
Yet, "Air Force One Down" does manage to deliver a handful of well-crafted action sequences. The choreography and execution of these moments are commendable, showcasing McNamara's physicality and the stunt team's creativity. However, these scenes are sometimes marred by cinematographic choices that detract from their impact, including shaky camera work and an overreliance on visual effects that strain credulity.
The film's controversial moments, including a gratuitous scene that reduces McNamara to an object of gaze rather than a competent agent, point to a missed opportunity to elevate the narrative beyond the trappings of genre clichés. Such choices not only date the film but also detract from its efforts to present a strong, independent female lead.
In conclusion, "Air Force One Down" navigates a precarious flight path, buoyed by McNamara's performance but weighed down by a script that often feels disconnected from the grounded, gritty realism that defines the best entries in the action-thriller category. While it may offer a diverting experience for genre aficionados, the film struggles to reach the heights of its ambitious premise. In the ledger of airborne action films, it registers more as a missed opportunity than a new classic. Reflecting on its overall execution and impact, I would rate "Air Force One Down" a 5 out of 10, aligning with a perspective that recognizes its strengths but remains acutely aware of its turbulence.