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Red Eye By David DiCerto Catholic News Service NEW YORK (CNS) -- To the list of things you should avoid while flying (along with crying babies and rude passengers who jam their seats back), you can add sitting next to a guy who threatens to have your father offed if you don't help him kill a high-ranking government official. This is precisely the bind in which Rachel McAdams finds herself in "Red Eye" (DreamWorks), an uneven psychological thriller directed by Wes Craven. McAdams ("The Notebook") stars as Lisa Reisert, guest-relations hotel staffer who waits out a delay while en route home to Miami by flirting over drinks with a charmingly reptilian stranger, Jackson Rippner (Cillian Murphy), at an airport lounge. They board the titular overnight flight separately, but find themselves seated next to each other. At first, Jackson is all kindness, calmly talking her through her takeoff jitters. But once airborne, Jackson's demeanor turns as icy as his eyes, as he reveals intimate knowledge about her personal life, including the home address of her divorced father (Brian Cox). Speaking in hushed tones so as not to draw attention, he informs her that their "chance" encounter was anything but, and that he had been hired to orchestrate a plot to assassinate a Homeland Security bigwig (Jack Scalia) and his family, the success of which -- not to mention dear old Dad's safety -- hinges on Lisa's cooperation. As it turns out, the target is staying at the posh beachfront hotel where Lisa works, and Jackson needs her to authorize a room change so the offshore hit squad will have a clearer shot. "Red Eye" marks a departure of sorts from Craven's teen-oriented slasher films like "Nightmare on Elm Street" and "Scream." But the movie shares several elements with his earlier works, including a strong female character. (Lisa is a rape survivor and is empowered by her refusal to be a victim again.) And while the film is clearly meant as "popcorn" entertainment, Lisa's dilemma serves to illustrate the ethical Gordian knot of choosing between two evils. (Is it ever permissible to kill -- or in this case facilitate the murder of -- one innocent person to save the life of another?) Most of the movie's brisk 86 minutes take place in the darkened airplane cabin, and much of what works is owed to the two fine leads, whose muted performances effectively convey the mounting tension within the film's close-quarter confines. "Red Eye" echoes such films as Joel Schumacher's "Phone Booth" as well as Hitchcock's "Lifeboat" and "Strangers on a Train." What starts off as a smart and suspenseful nail-biter hits story turbulence midflight before nose-diving into a stock chase film by the third act, which at the advance screening elicited more guffaws than gasps. You may want to wait for "Red Eye" to hit video stores before boarding. The film contains several instances of intense violence, including a graphic throat puncturing, as well as some crude language. The USCCB Office for Film & Broadcasting classification is L -- limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is PG-13 -- parents are strongly cautioned. Some material may be inappropriate for children under 13. - - - DiCerto is on the staff of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops. END Copyright (c) 2005 Catholic News Service/USCCB. All rights reserved. This material may not be published, broadcast, rewritten or otherwise distributed. CNS · 3211 Fourth St NE · Washington DC 20017 · 202.541.3250 |
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