Early "Flightplan" review Jodie's Back!

[BombaySapphire3]

Flightplan
Toronto World Premiere Opens Sep 23A-
The first bona-fide hit of the fall season, “Flightplan” is an extremely intelligent and well-executed film that combines the thrills of a taut psychological suspenser with the emotional elements of a gripping human drama, placed against a most relevant context, the fear and paranoia that have become integral part of flying.

You could say that, “Flightplan” is to airplane stories what “Das Boot” was to submarine tales, an exciting thriller that takes full advantage of the properties of film as a unique medium, manipulating (in the positive sense of the term) limited space, constrained time, and generic expectations.

The comparison to the great 1982 film is valid since “Das Boot” was directed by German helmer Wolfgang Petersen and “Flightplan” marks the stunning American debut of German director Robert Schwentke, who makes a huge leap forward after his more modest German film, “Tattoo.”

I have no doubts that Schwentke will follow in the footsteps of Petersen into a glorious Hollywood career; I just hope that he won’t make the same trivial fare that his compatriot has been making over the past decade, what with “Outbreak,” “The Perfect Storm,” “Troy,” and the upcoming remake of “The Poseidon Adventure.” To be fair, Petersen has also made “Air Force One,” a decent thriller set in the high skies with Harrison Ford as the U.S. president. However, as entreating as that movie was, “Flightplan” is far more impressive, both narratively and technically.

Inevitable comparisons will also be made with Wes Craven’s “Red Eye,” not only because both movies are set within the confined, claustrophobic zone of an airplane, but also because both feature strong women in non-traditional female roles. In fact, in the original script of “Flightplan,”’ the protagonist was male, and it was changed to a female to accommodate Jodie Foster, though the name Kyle remained the same.

Perfectly cast and in top shape, Foster is a most suitable heroine with her alert intelligence and physical skills, qualities used to great advantage in her last film, “Panic Room,” which was also set in a restricted area, a house. More consistently gripping and better-made than David Fincher’s thriller, “Flightplan” may prove to be the first blockbuster of the year, likely to appeal to all demographic groups due to its timely issue and superb execution.

“Flightplan” is far superior to “Red Eye,” which had no characters to speak of. Even the leads, Rachel McAdams and Cillian Murphy, played undernourished parts. Though stylishly directed by Craven, “Red Eye” was ultimately a gimmicky exercise based on a single premise. In contrast, “Flightplan” benefits from a strong screenplay and three sharply observed characters, played by Foster, Peter Sarsgaard, and Sean Bean.

The film’s first hour is nothing short of brilliant. Too bad that the last reel is not as strong--it’s too generic--for “Flightplan” would have emerged as a nearly flawless film. Even so, this is Hollywood, or rather German-Hollywood, filmmaking at its most exciting.

Can a child suddenly disappear from an airplane 37,000 feet above ground? This is the central, shattering question of “Flightplan,” a visceral thriller that transports the viewers into the turbulent confines of an international flight from Berlin to New York, putting them right at the center of a chilling human mystery.

Foster stars as Kyle Pratt, the frantic but fiercely intelligent mother whose deepest protective instincts will be triggered by a haunting in-flight nightmare, when, in the middle of the trans-Atlantic trip, her young daughter Julie (Marlene Lawson) turns up missing without a trace. Did the girl ever board the plane? Did she ever exist?

The film’s trick is to associate the viewers with the passengers on screen. Hence, the dilemma facing the passengers and crew onboard is the same predicament that the moviegoers of “Flightplan” experience. Both groups have to determine whether Kyle, who arrives on the flight still reeling from the recent loss of her husband, is a woman gone mad with grief, or a formidably determined mother whose child is in grave danger that threatens the entire plane.

Adding to the mystery is the fact that Kyle and her daughter were the very first to board the plane, and thus no one seems to remember even seeing the girl. Indeed, neither of the flight attendants (Erika Christensen and Kate Beahab) can recall the existence of a girl. To support their point, they claim that Julie’s name doesn’t even appear on the flight manifest.

Kyle is positioned against two suspicious men. While Airline Captain Rich (Sean Bean) and Air Marshal Gene Carson (Peter Sarsgaard), in charge of safety, don’t want to doubt Kyle’s insistent claim that her daughter has vanished, all evidence points to the fact that Julie was never onboard. For a while, Casron serves as mdiator between Kyle and the Captain. But for the most part, there's an intriguing interplay between Kyle, Carson, and Rich as they try to size one another up and figure out one another’s shifting agendas.

Two interrelated issues quickly emerge. What is the truth behind Kyle’s distress? Did her husband commits suicide or pushed off of the roof? We know that his coffin is supposed to be traveling with Kyle.

Then there’s the question of who on board can be trusted, and just how far or deep would Kyle delve into the harrowing mystery? As paranoia and doubt mount, some of the passengers become victims of stereotyping and profiling. Angry and frustrated, Kyle attacks an Arab passenger with charges that he had kidnapped her daughter, and the poor guy has to prove where he had spent the night prior to the flight.

Kyle herself is confronted with the most unsettling fears any mother could face: Losing her only child. That Julie disappears while Kyle falls asleep in the back row for a couple of hours make things worse, for Kyle is tormented by guilt. Soon, Kyle’s reality and consciousness are questioned. She is trapped in a situation where no one can help. Pushed to the edge and fighting for her sanity, Kyle goes to dangerous, unimaginable lengths to find and save Julie.

Pater A. Dowling and Billy Ray’s script mixes successfully human emotions, ethical dilemmas, and edge-of-your-seat thrills. The movie makes the most of the chaos and paranoia of waiting in terminals, flight delays, and the whole airport experience, reflecting a time when insidious sense of anxiety pervades the very being at an airport. The sophisticated thriller takes place entirely on an airplane, an enclosed realm where, in today’s world, isolation, fright, and suspicion are already heightened to the max. Kyle is drawn into a complex web of mystery, treachery and perceived conspiracy that take her to the very depth of maternal tenacity, bringing the audience along for the ride.

Though the story was developed before Sept. 11, the script took on an increased relevance in the aftermath of the terrorist attacks. “Flightplan” reflects the new era of travel, one that’s filled with uncertainty and palpable awareness of one’s fellow passengers, as well as intensified feelings of protectiveness among parents. Indeed, in the wake of 9/11, the themes of paranoia and shifting perception of foreigners and strangers come even more to the fore than originally intended.

“Flightplan” is a Hitchcockian mystery set in the sealed world of a modern jet airliner, with all its nooks, shafts, and hiding places. Early on, it’s established that Kyle is an engineer with expert knowledge of all the technical and mechanical issues involved with aircrafts. Hitchcock would have been proud for another reason, which I can’t explicate for fear of spoiling the fun. Suffice is to say that there are some similarities between the characters in “Strangers on a Train” and those in “Flightplan.”

The premise--a parent on a plane has her child vanish and nobody admits to ever seeing her onboard--could have gone in any number of directions, such as supernatural, alien abduction, and hallucinatory fantasy. In fact, Foster herself has appeared in a similar film, Robert Zemeckis’ “Contact” (1997), as a woman who has devoted her life to studying the stars, believing there’s life Out There. Ostracized by her superior at the National Science Foundation, she’s eventually cut off--until she receives a message from space.

It’s to the credit of the filmmakers that they go out of their way to ground this premise—truly a high concept—in a recognizably specific reality that most viewers will be able to relate to viscerally. The filmmakers know that strangers suck on a plane together is an explosive situation that allows to explore how people react under pressure, showing how humanity emerges in both good and bad ways. The movie‘s primal idea grabs you by the gut, before the story begins to address issues of the heart and mind that no doubt will resonate with audiences

Except for the last ten minutes, which are disappointing, Schwentke shows visual innovation and psychological inventiveness throughout his puzzle movie, one that full of twists and turns. Schwentke has made a number of shrewd decisions that enhance the tension considerably. The opening sequences, set at Kyle’s house and then at the terminal (where Julie gets lost for a few minutes) notwithstanding, the movie unfolds in a single contained environment. There are no cuts to the control power, or to any character on the ground. Everything stays within the claustrophobic space of the plane, trapping the audience along with the characters, leaving both groups struggling to resolve the mystery.

Also smart is the decision to make Julie leave an indelible impression on the audience in two or three scenes, so that her sudden absence would be palpable and disconcerting.

The dread and the entire experience are consistently seen from Kyle’s subjective POV. Exactly how her husband died is not revealed until late in the story, but it’s clear that Kyle, a smart yet possibly unstable widow, is beginning to lose her grip on reality as a result of his death. Kyle’s emotional distress is compounded by the fact that she’s become the sole caretaker of her 6-year-old daughter.

Appearing in almost every scene, Foster is simply sensational. She brings tremendous energy and complexity to her role, embodying every detail of her transformation, from numbed grief to horrified shock to galvanized action, as she stops at nothing to solve the gut-wrenching mystery.


Jodie is one of the greats. I'm thrilled to see she decided to work again!

[amber]

Sweet. I had seen some of the commercials, and was really excited. I love the Jodie, always have. She's so good with the whole "mystery" thing, too. She really brings extra.

[DownOnRodeo]

<3<3 Jodie Foster

She always seems to choose her films carefully. Can't wait to see this!

[dissention]

This should be a great movie. I *love* Jodie Foster. She doesn't make many movies, but when she does, she always picks good ones (save Anna and the King, but I forgive her because she's so wonderful). Her directorial efforts are great, too; "Little Man Tate" and "Home For the Holidays" are amongst my favorite movies.

[amber]

Originally Posted by dissention

This should be a great movie. I *love* Jodie Foster. She doesn't make many movies, but when she does, she always picks good ones (save Anna and the King, but I forgive her because she's so wonderful). Her directorial efforts are great, too; "Little Man Tate" and "Home For the Holidays" are amongst my favorite movies.

Ha, i was going to mention Anna and the King in the same way, but thought I'd refrain.
Me, too, favorite movies. I mean, I absolutely love her. er...Contact wasn't the best performance either, and I go back and forth about Nell. Sometimes she has too much "patented everything is extremely serious Jodie Foster face" - but overall - Stellar.
Either way I'm glad to see her back, I was worried she really might have retired.
Her cheekbones and superb facial planes are still holding her face up marvelously, though. Too bad about the pale skin and thin lips, but it still all works, IMO.

[BombaySapphire3]

Originally Posted by amber

Ha, i was going to mention Anna and the King in the same way, but thought I'd refrain.
Me, too, favorite movies. I mean, I absolutely love her. er...Contact wasn't the best performance either, and I go back and forth about Nell. Sometimes she has too much "patented everything is extremely serious Jodie Foster face" - but overall - Stellar.
Either way I'm glad to see her back, I was worried she really might have retired.
Her cheekbones and superb facial planes are still holding her face up marvelously, though. Too bad about the pale skin and thin lips, but it still all works, IMO.

Her comment on making Anna and the King was that she wanted a trip to Malaysia so I don't think her heart was in it anyway.I actually loved in her in Contact and think the film itself kind of let her down.I think Jodie always does best in a film where there is no romantic lead anyway .In fact the most believeable sex scene she ever did was in The Hotel New Hampshire with Natasha Kinksi.So Flight Plan should be great.

[AliceLover]

Originally Posted by dissention

This should be a great movie. I *love* Jodie Foster. She doesn't make many movies, but when she does, she always picks good ones (save Anna and the King, but I forgive her because she's so wonderful). Her directorial efforts are great, too; "Little Man Tate" and "Home For the Holidays" are amongst my favorite movies.

ummmmm Resident Evil???? Panic Room??? GAG ME QUICK!

[AliceLover]

Originally Posted by BombaySapphire3

Flightplan
Toronto World Premiere Opens Sep 23A-
The first bona-fide hit of the fall season, “Flightplan” is an extremely intelligent and well-executed film that combines the thrills of a taut psychological suspenser with the emotional elements of a gripping human drama, placed against a most relevant context, the fear and paranoia that have become integral part of flying.

You could say that, “Flightplan” is to airplane stories what “Das Boot” was to submarine tales, an exciting thriller that takes full advantage of the properties of film as a unique medium, manipulating (in the positive sense of the term) limited space, constrained time, and generic expectations.

The comparison to the great 1982 film is valid since “Das Boot” was directed by German helmer Wolfgang Petersen and “Flightplan” marks the stunning American debut of German director Robert Schwentke, who makes a huge leap forward after his more modest German film, “Tattoo.”

I have no doubts that Schwentke will follow in the footsteps of Petersen into a glorious Hollywood career; I just hope that he won’t make the same trivial fare that his compatriot has been making over the past decade, what with “Outbreak,” “The Perfect Storm,” “Troy,” and the upcoming remake of “The Poseidon Adventure.” To be fair, Petersen has also made “Air Force One,” a decent thriller set in the high skies with Harrison Ford as the U.S. president. However, as entreating as that movie was, “Flightplan” is far more impressive, both narratively and technically.

Inevitable comparisons will also be made with Wes Craven’s “Red Eye,” not only because both movies are set within the confined, claustrophobic zone of an airplane, but also because both feature strong women in non-traditional female roles. In fact, in the original script of “Flightplan,”’ the protagonist was male, and it was changed to a female to accommodate Jodie Foster, though the name Kyle remained the same.

Perfectly cast and in top shape, Foster is a most suitable heroine with her alert intelligence and physical skills, qualities used to great advantage in her last film, “Panic Room,” which was also set in a restricted area, a house. More consistently gripping and better-made than David Fincher’s thriller, “Flightplan” may prove to be the first blockbuster of the year, likely to appeal to all demographic groups due to its timely issue and superb execution.

“Flightplan” is far superior to “Red Eye,” which had no characters to speak of. Even the leads, Rachel McAdams and Cillian Murphy, played undernourished parts. Though stylishly directed by Craven, “Red Eye” was ultimately a gimmicky exercise based on a single premise. In contrast, “Flightplan” benefits from a strong screenplay and three sharply observed characters, played by Foster, Peter Sarsgaard, and Sean Bean.

The film’s first hour is nothing short of brilliant. Too bad that the last reel is not as strong--it’s too generic--for “Flightplan” would have emerged as a nearly flawless film. Even so, this is Hollywood, or rather German-Hollywood, filmmaking at its most exciting.

Can a child suddenly disappear from an airplane 37,000 feet above ground? This is the central, shattering question of “Flightplan,” a visceral thriller that transports the viewers into the turbulent confines of an international flight from Berlin to New York, putting them right at the center of a chilling human mystery.

Foster stars as Kyle Pratt, the frantic but fiercely intelligent mother whose deepest protective instincts will be triggered by a haunting in-flight nightmare, when, in the middle of the trans-Atlantic trip, her young daughter Julie (Marlene Lawson) turns up missing without a trace. Did the girl ever board the plane? Did she ever exist?

The film’s trick is to associate the viewers with the passengers on screen. Hence, the dilemma facing the passengers and crew onboard is the same predicament that the moviegoers of “Flightplan” experience. Both groups have to determine whether Kyle, who arrives on the flight still reeling from the recent loss of her husband, is a woman gone mad with grief, or a formidably determined mother whose child is in grave danger that threatens the entire plane.

Adding to the mystery is the fact that Kyle and her daughter were the very first to board the plane, and thus no one seems to remember even seeing the girl. Indeed, neither of the flight attendants (Erika Christensen and Kate Beahab) can recall the existence of a girl. To support their point, they claim that Julie’s name doesn’t even appear on the flight manifest.

Kyle is positioned against two suspicious men. While Airline Captain Rich (Sean Bean) and Air Marshal Gene Carson (Peter Sarsgaard), in charge of safety, don’t want to doubt Kyle’s insistent claim that her daughter has vanished, all evidence points to the fact that Julie was never onboard. For a while, Casron serves as mdiator between Kyle and the Captain. But for the most part, there's an intriguing interplay between Kyle, Carson, and Rich as they try to size one another up and figure out one another’s shifting agendas.

Two interrelated issues quickly emerge. What is the truth behind Kyle’s distress? Did her husband commits suicide or pushed off of the roof? We know that his coffin is supposed to be traveling with Kyle.

Then there’s the question of who on board can be trusted, and just how far or deep would Kyle delve into the harrowing mystery? As paranoia and doubt mount, some of the passengers become victims of stereotyping and profiling. Angry and frustrated, Kyle attacks an Arab passenger with charges that he had kidnapped her daughter, and the poor guy has to prove where he had spent the night prior to the flight.

Kyle herself is confronted with the most unsettling fears any mother could face: Losing her only child. That Julie disappears while Kyle falls asleep in the back row for a couple of hours make things worse, for Kyle is tormented by guilt. Soon, Kyle’s reality and consciousness are questioned. She is trapped in a situation where no one can help. Pushed to the edge and fighting for her sanity, Kyle goes to dangerous, unimaginable lengths to find and save Julie.

Pater A. Dowling and Billy Ray’s script mixes successfully human emotions, ethical dilemmas, and edge-of-your-seat thrills. The movie makes the most of the chaos and paranoia of waiting in terminals, flight delays, and the whole airport experience, reflecting a time when insidious sense of anxiety pervades the very being at an airport. The sophisticated thriller takes place entirely on an airplane, an enclosed realm where, in today’s world, isolation, fright, and suspicion are already heightened to the max. Kyle is drawn into a complex web of mystery, treachery and perceived conspiracy that take her to the very depth of maternal tenacity, bringing the audience along for the ride.

Though the story was developed before Sept. 11, the script took on an increased relevance in the aftermath of the terrorist attacks. “Flightplan” reflects the new era of travel, one that’s filled with uncertainty and palpable awareness of one’s fellow passengers, as well as intensified feelings of protectiveness among parents. Indeed, in the wake of 9/11, the themes of paranoia and shifting perception of foreigners and strangers come even more to the fore than originally intended.

“Flightplan” is a Hitchcockian mystery set in the sealed world of a modern jet airliner, with all its nooks, shafts, and hiding places. Early on, it’s established that Kyle is an engineer with expert knowledge of all the technical and mechanical issues involved with aircrafts. Hitchcock would have been proud for another reason, which I can’t explicate for fear of spoiling the fun. Suffice is to say that there are some similarities between the characters in “Strangers on a Train” and those in “Flightplan.”

The premise--a parent on a plane has her child vanish and nobody admits to ever seeing her onboard--could have gone in any number of directions, such as supernatural, alien abduction, and hallucinatory fantasy. In fact, Foster herself has appeared in a similar film, Robert Zemeckis’ “Contact” (1997), as a woman who has devoted her life to studying the stars, believing there’s life Out There. Ostracized by her superior at the National Science Foundation, she’s eventually cut off--until she receives a message from space.

It’s to the credit of the filmmakers that they go out of their way to ground this premise—truly a high concept—in a recognizably specific reality that most viewers will be able to relate to viscerally. The filmmakers know that strangers suck on a plane together is an explosive situation that allows to explore how people react under pressure, showing how humanity emerges in both good and bad ways. The movie‘s primal idea grabs you by the gut, before the story begins to address issues of the heart and mind that no doubt will resonate with audiences

Except for the last ten minutes, which are disappointing, Schwentke shows visual innovation and psychological inventiveness throughout his puzzle movie, one that full of twists and turns. Schwentke has made a number of shrewd decisions that enhance the tension considerably. The opening sequences, set at Kyle’s house and then at the terminal (where Julie gets lost for a few minutes) notwithstanding, the movie unfolds in a single contained environment. There are no cuts to the control power, or to any character on the ground. Everything stays within the claustrophobic space of the plane, trapping the audience along with the characters, leaving both groups struggling to resolve the mystery.

Also smart is the decision to make Julie leave an indelible impression on the audience in two or three scenes, so that her sudden absence would be palpable and disconcerting.

The dread and the entire experience are consistently seen from Kyle’s subjective POV. Exactly how her husband died is not revealed until late in the story, but it’s clear that Kyle, a smart yet possibly unstable widow, is beginning to lose her grip on reality as a result of his death. Kyle’s emotional distress is compounded by the fact that she’s become the sole caretaker of her 6-year-old daughter.

Appearing in almost every scene, Foster is simply sensational. She brings tremendous energy and complexity to her role, embodying every detail of her transformation, from numbed grief to horrified shock to galvanized action, as she stops at nothing to solve the gut-wrenching mystery.


Jodie is one of the greats. I'm thrilled to see she decided to work again!

Im not really excited about seeing this because it reminds me too much of the forgotten. Also I just saw red eye. Too many plane movies.

[dissention]

Originally Posted by AliceLover

ummmmm Resident Evil????

She wasn't in that **** flick.

Originally Posted by AliceLover

Panic Room??? GAG ME QUICK!

I thought Panic Room was great. She was spellbinding in that one. It was paced perfectly, the characters were given just enough depth for that type of movie, and the setting was used to perfection.

[AliceLover]

Originally Posted by dissention

She wasn't in that **** flick.



I thought Panic Room was great. She was spellbinding in that one.

Who the hell was in resident evil then lol!

Panic room put me to sleep. BLECH.

[dissention]

Originally Posted by AliceLover

Im not really excited about seeing this because it reminds me too much of the forgotten. Also I just saw red eye. Too many plane movies.

Oy, didn't Red Eye suck? Subtract the length of the opening and ending credits and you get a 70 minute turkey with a plot that insults the intelligence of anyone watching it, Cillian Murphy letting his lips and cheekbones do all the acting for him, and further proof that Wes Craven is, and always will be, a hack. I love me some B-movie fun, but that one was one helluva bomb.

[amber]

Originally Posted by BombaySapphire3

Her comment on making Anna and the King was that she wanted a trip to Malaysia so I don't think her heart was in it anyway.I actually loved in her in Contact and think the film itself kind of let her down.I think Jodie always does best in a film where there is no romantic lead anyway .In fact the most believeable sex scene she ever did was in The Hotel New Hampshire with Natasha Kinksi.So Flight Plan should be great.

Ah! good info. Although whether her heart was in it or not, I think she was miscast in Anna and the King.
Yeah, Contact was pretty ok. I mean, she was good, the movie was medium. Mathew Mcetc was hot. As usual.
I agree about the romantic lead, and Kinski, although I thought she did a great job with Richard Gere in that Return of Martin Guerre thing (forgot the new title).
People are critical of that movie, but I thought she brought a lot of subtelty and truth to it, including the love scenes. When she shaves him? Nice. Those moments were very good, IMO.

[dissention]

Originally Posted by AliceLover

Who the hell was in resident evil then lol!

Milla Jovovich.

Originally Posted by AliceLover

Panic room put me to sleep. BLECH.

It put you to sleep? That's one of the few "thrillers" that deserves such a name, imo. I love that one close-up of her face after Dwight Yoakum finally bites the dust and the police bust in, the music swelling in the background. Very effective.

[diamondsnake]

Originally Posted by AliceLover

Who the hell was in resident evil then lol!

Panic room put me to sleep. BLECH.

Panic Room was awesome! Everytime I watch it, I'm on the edge of my seat. Even though I know what is going to happen at this point.

I am so excited for this movie. I want to see it the second it comes out because the previews are giving me chills, so I can only imagine what the actual movie is like...

[dissention]

Originally Posted by amber

Ah! good info. Although whether her heart was in it or not, I think she was miscast in Anna and the King.

I thought the whole production was just simply bad. I liked her in it, but the movie itself was such silly Oscar bait that slogging through it was more of a chore than anything else.

Originally Posted by amber

Yeah, Contact was pretty ok. I mean, she was good, the movie was medium. Mathew Mcetc was hot. As usual.
I agree about the romantic lead, and Kinski, although I thought she did a great job with Richard Gere in that Return of Martin Guerre thing (forgot the new title).
People are critical of that movie, but I thought she brought a lot of subtelty and truth to it, including the love scenes. When she shaves him? Nice. Those moments were very good, IMO.

I had totally forgotten about The Hotel New Hampshire until it was just brought up. I loved that scene where she exacts revenge on Matthew Modine for raping her.

I think the Gere movie is called "Sommersby." I saw it in the theater with my grandma when I was in my early teens. Hated it, but hey, I was a teen boy.