What I expect from a thriller is that it keep me guessing while scaring the socks off me -- and 'Flightplan' passes this test with flying colors.
Flightplan (2005)
Tomatometer
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Reviews Counted:167
Fresh:63
Rotten:104
Average Rating:5.3/10
Consensus: The actors are all on key here, but as the movie progress, tension deflates as the far-fetched plot kicks in.
Rated: PG-13 [See Full Rating] for violence and some intense plot material
Runtime: 1 hr 38 mins
Genre: Thriller, Theatrical Release
Theatrical Release:Sep 23, 2005 Wide
Box Office: $89,602,378
Synopsis: After 2002's PANIC ROOM, Jodie Foster took a three year break before deciding to take another leading role in a major motion picture. Three years is a lifetime in Hollywood, but Foster is one of... After 2002's PANIC ROOM, Jodie Foster took a three year break before deciding to take another leading role in a major motion picture. Three years is a lifetime in Hollywood, but Foster is one of the few stars who can afford to take such a lengthy hiatus from the industry and still command major roles on her return. Robert Schwentke's FLIGHTPLAN is the movie Foster chose as her comeback vehicle; playing the recently widowed Kyle Pratt, she sticks close to PANIC ROOM territory, delving further into fear and isolation as her character boards an airplane to escort her dead husband's body from Berlin to New York. Kyle brings her young daughter Julia (Marlene Lawston) on the plane with her, and they fly on a craft that was designed by the grieving widow during her tragic tenure in Berlin. But after a short in-flight nap, Kyle awakes to find Julia has disappeared. Her frantic search leads nowhere, and it seems no one on the plane can remember Kyle's daughter boarding the plane. An air marshal named Carson (Peter Sarsgaard) and the pilot of the plane, Captain Rich (Sean Bean), methodically ask Kyle some questions to determine where Julia could be, but she fails to produce any concrete evidence, not even a boarding pass. At this point, Kyle begins to doubt her own sanity, and Schwentke steers the movie through some surprising plot twists as his lead character teeters on the brink of madness. The second half of the movie drops the Hitchcockian intrigue (FLIGHTPLAN owes a sizeable debt to Hitchcock's 1938 thriller THE LADY VANISHES) and settles into a more straightforward action film, but Foster shines throughout. Credit is also due to cinematographer Florian Ballhaus, who unnervingly conjures up a palpable feeling of claustrophobia as the high-tech airplane endures a rocky journey through the skies. [More]
Starring: Jodie Foster, Peter Sarsgaard, Sean Bean, Kate Beahan
Starring: Jodie Foster, Peter Sarsgaard, Sean Bean, Kate Beahan
Director: Robert Schwentke
Director: Robert Schwentke
Screenwriter: Billy Ray
Producer: Brian Grazer
Composer: James Horner
Studio: Touchstone Pictures
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Reviews for Flightplan
Unfortunately, the best part of 'Flightplan' is the airplane, which exists only on film.
Jodie Foster doesn't impress in this lackluster thriller that is far-fetched and uninvolving.
The last fifteen minutes are extremely stupid and almost ruin all that good stuff we've had before.
It might not seem quite so awful, even reprehensible, if it didn't waste a pretty good cast, or if it didn't trot out that ultimate poor-taste cliche, a child in peril.
The vanished child one really misses here is that adorably sparky, wised-up kid from Bugsy Malone and Alice Doesn’t Live Here Any More.
One of those thrillers that pivots around the question of how daring -- or how focus-group cautious -- we suspect the filmmakers will turn out to be.
By the time we reach the interminable third act and its action movie climax, it's clear Flightplan never should have gotten off the ground.
Succeeds admirably, both as a sophisticated psychological thriller and as an example of, if not great art, then superb craftsmanship.
Jodie Foster's fiercely intelligent performance drives this disappointing thriller, whose taut, carefully constructed first half is sadly negated by its implausible and -- worst of all -- unengaging conclusion.
Foster's cobalt-blue eyes and pale, pointy features have rarely been used to such ambiguous effect. Is she the hardest or the most hurt-looking woman you've ever seen?
It's a tense, concise and elegantly shot film that creates a sense of menace from the very beginning - - and in a way that's unusual.
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