You Know You're On A Crappy Flight When The In-Flight Movie Is Red Eye

The Good: Acting, Plot concept
The Bad: Predictable characters arcs, Fails to evoke tension, DVD extras are lame, Short!
The Basics: Despite a good start, Red Eye mortgages the ability to create a compelling thriller for a cheap, predictable set of lines and resolution.


Cillian Murphy jumped into my attention with 28 Days Later, which he was fabulous in. He was underused in Batman Begins, but I had good cause to trust he would be good in Red Eye, a horror movie specifically tailored for our current political paranoia. This was the first movie I had seen with rising star Rachel McAdams.

Hotel desk clerk Lisa Reisert is traveling home from her grandmother's funeral when her flight is delayed. While waiting for her new flight, she meets Jackson Rippner, who is attentive and charming with her, though he is giving off a pretty creepy vibe the whole time. Lisa boards her plane to discover Jackson has the seat next to her. They begin to talk and soon Jackson reveals that he is on the plane for Lisa. He wants Lisa to change the room assignment of a Homeland Security officer at the hotel where Lisa works. If Lisa does not comply, Jackson has someone who will kill her father. As the flight goes on, Lisa struggles to beat the terrorist and Jackson becomes more insistent about her need to comply.

This is Wes Craven's take on the Julia Roberts movie Sleeping With The Enemy and his direction of the movie bears a striking resemblance to that, down to some of the shots near the end. Fortunately, neither Carl Ellsworth nor Dan Foos - who wrote Red Eye - were associated with Sleeping With The Enemy, making them derivative and not one trick ponies.

Red Eye is a thriller, supposedly, but it does very little in the way of thrilling. The film tries to make everything into a moment of tension, from the music in the opening credits, to the plane taking off, so by the time the conflict between Jackson and Lisa actually becomes something, it's past the point where the audience feels able to care or feel tense. Instead, it is predictable in all of the worst ways, once the premise is established. Sadly, Wes Craven has squeezed himself into the same safe box as far too many other directors following the September 11 attacks, so while Red Eye features a plot that is reacting to the attacks, it is not bold in any way about the statement it makes. And that's disappointing.

Moreover, this is a very "male" movie for a film with a female protagonist. Lisa is strong, but when it comes to the critical moments, it is the men who do the heavy lifting. Lisa and her coworker in the hotel, Cynthia, risk their lives to protect the homeland security officer, Charles Keefe. And they do it all for, a pat on the back. The men here are the real protectors; Keefe is protecting the nation and his family, Lisa's father Joe protects her. To be fair, all the men are villains here, too, so they are portrayed as both the villains and protectors. Women, including Lisa, are merely accessories, pawns in their games.

This is especially bothersome on the character level. Red Eye's latter third hinges on Lisa being a strong woman who is able to kick some serious butt. The moment - early in the film - that she sees a scar on her chest in the mirror, her character is completely explained to almost anyone with a brain who understands the world we live in. The problem is, because this is such an obvious character tell, in order to do anything that we don't expect, well, the movie would have to do something truly different. Instead, Lisa says exactly what one would expect about being a woman in her position the second before she begins to truly fight Jackson.

Again, it's very safe in this p.c. age to show women kicking the crap out of men and to its credit, Red Eye establishes two characters who are on fairly even footing (at least by the time they are actually locked in combat). The problem with this type of conflict is that is has become passe. In almost every such conflict, the viewer pretty much knows who will win (so, for example, in Alias, it does not matter the size of the man Sydney Bristow is up against, odds are good she'll win). Somehow, it's become perfectly all right for us to show men pounding the crap out of women, so long as the woman triumphs in the end. In most cases, I'm fine with that. In Red Eye, I was hoping for ANYTHING that might be surprising. Anything.

Those who want to watch Red Eye hoping for a real horror movie are likely to leave disappointed. This is, at best, a psychological horror, one man toying with one woman to get what he wants from her. The broader text of this movie is a political thriller. Jackson is the new face of terrorism, sent to make a statement to Homeland Security by assisting in an endeavor to take out one of their public faces.

The problem, then, is that Jack does not work. We are meant to believe that he has the resolve and determination of a terrorist, yet he makes amateur mistakes like not knowing when to cut his losses. We are made to believe that his personal vengeance trumps either his desire to make a political statement or his desire to survive in the underworld long enough to be hired for another job that will bring him money. Jackson makes no real sense, so while Lisa is the cliche of the now-strong survivor, Jackson is a parody of a terrorist that only an audience under 17 could believe in.

Cillian Murphy, however, is wonderful. Murphy's acting creates Jackson as a reasonable gun-for-hire and his ability to alternate charm and menace is wonderful. Murphy expresses more with his eyes than some actors get out with a whole page of dialogue. He is cold, calculating and wonderful in his performance. It's a shame that he was not given a better (more sensibly written) villain to play.

Rachel McAdams is the real winner of Red Eye. Despite playing one of the most predictable roles in recent memory, she did it well. She was essentially human throughout and strong and determined and she was believable. Sometimes that's the most one may hope for. The best thing to come out of my watching Red Eye was in looking McAdams up on the IMDB, I learned she's in talks to play Claire Abshire in the film adaptation of The Time Traveler's Wife, my favorite recent read (reviewed here!). Now I have to think if she'd be as good as Claire . . .

This is a "PG-13" movie and it barely deserves that high a rating. The DVD extras include one of the lamest "gag reels" I've ever seen and a commentary track that does not make the movie any more interesting. All in all, this is a disappointment. Cillian Murphy is in better movies and I'm sure Rachel McAdams is, too. As for Wes Craven . . . if you can't make a movie that's over 90 minutes, maybe it's time to get out of the business.

For other works with Cillian Murphy, please check out my reviews of:
The Dark Knight Rises
Tron: Legacy
Inception
The Dark Knight
Batman Begins
28 Days Later

3.5/10

For other movie reviews, be sure to visit my Movie Review Index Page for an organized listing!

© 2012, 2007 W.L. Swarts. May not be reprinted without permission.
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The Joke Is On The Audience . . . But We Wanted It! Jay And Silent Bob Strike Back

The Good: Funny, Allusions, Character progression
The Bad: Predictable, So much was cut!
The Basics: Funny and enjoyable for movie buffs and people who enjoy Kevin Smith's movies, Jay And Silent Bob Strike Back ages well.


Jay And Silent Bob Strike Back is one of those films that people tend to take or leave and they take it if they enjoy Kevin Smith's prior works (Clerks, Mallrats, Chasing Amy, and Dogma) and leave if they haven't seen or didn't enjoy Smith's previous works, this one is certainly not going to get people to watch his films. The 2-DVD set is pretty much the best argument ever for DVD short of The Criterion Collection DVD set of Brazil. The magic of the DVD is that there's a whole second film of Kevin Smith et al. introducing cut scenes from Jay And Silent Bob Strike Back.

Jay And Silent Bob Strike Back is a hard sell, so I won't try to sell it to those of you who haven't seen Kevin Smith's prior works. If you haven't seen Clerks, Chasing Amy, or Dogma, go see at least one of them and then come back to this. This film is appreciable if you know the players involved.

Jay And Silent Bob Strike Back follows the exploits of Jay and Silent Bob from New Jersey through Hollywood. The plot is simple; the pair has a comic book based upon them and when they learn there is a film being made of their characters, they discover the internet and criticism there. So, the pair heads to Hollywood under the logic that if the movie isn't made, no one can badmouth them. It's solid logic from stoners. Once you accept that, you're fine. The rest of the film is the caper of Jay and Silent Bob falling in with a group of diamond thieves, losing them, and getting to Hollywood.

Criticizing Jay And Silent Bob Strike Back is as stupid as those two yo-yos that went and sued the makers of Duce Bigalow, Male Gigolo (or was it The Animal?) because there was a faux reviewer who recommended the film. If you go to see a Rob Schneider flick, you're not expecting high brow or, if you are, you're an idiot. Jay And Silent Bob Strike Back is a stupid film making fun of stupid films being made. It's stupid, but it doesn't have the pretense of being anything more. So, why should the audience?

My theory is, we shouldn't. Accept the premise and you'll enjoy it. The film makes hilarious pokes as sequels and how lame they usually are, they mock themselves and other works expertly.

The real gem of the DVD is watching the film and then going through the bonus disk for all of the additional stuff that is packed on there. The whole commentary on the cuts scenes was easily more funny than the actual film and worth the price of the DVD alone. The different clips are great.

Here Kevin Smith makes a satire of the people he has worked with and it's amusing to see Ben Affleck and Matt Damon make fun of themselves while also playing other characters they have played in Smith's earlier films.

One of the surprises here is the quality of the acting. Ben Affleck convincingly plays Holden from Chasing Amy in a cameo early in the film as well as creating a very different character in the parody of himself. Similarly, Jason Lee's presence in the film as both Banky Edwards and Brody is strangely unconfusing; his physical appearance is not significantly altered between the two roles, but he actively portrays them as different people and he successfully sells them.

While many would applaud Will Farrell as Marshal Willenholly, I think he's simply being Farrell as a Federal Wildlife Marshal and if you've seen Farrell in a few roles, you've seen his range. He does nothing extraordinary here. However, Shannon Elizabeth is great as Jay's love interest, Justice. She is more than simply a pretty face and a body here; she's actualized enough to keep our interest for the film.

The acting talent that dominates Jay And Silent Bob Strike Back is Jason Mewes. Most of the airtime is his and here he recreates the quirky, angry, foul-mouthed drug dealer we've known from the other films.

This is not a film for the young. It's hilarious, but it uses a lot of harsh language and foul sexual references. It's not a terribly intellectual film, but it is one that those who despise pop culture will appreciate a lot: many recognizable faces from today's popular culture appear to do parodies of their more serious work.

If you want a treat and you've enjoyed Kevin Smith's other works, there's no better way to cap off the adventures of Jay and Silent Bob than this. And as a hint, stay through the end of the credits. :)

For other movies by Kevin Smith, please visit my reviews of:
Clerks
Chasing Amy
Dogma
Clerks II
Cop Out
Red State

6.5/10

For other movie reviews, please visit my index page by clicking here!

© 2011, 2003 W.L. Swarts. May not be reprinted without permission.
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Arguably One Of The Best Horror Concepts, A Nightmare On Elm Street Still Scares!

The Good: Wonderful horror moments, Moments of effect, Reasonably smart characters, DVD bonus features
The Bad: Remarkably weak ending, A few horror conceits
The Basics: Conceptually frightening, A Nightmare On Elm Street overcomes its limitations with good DVD bonus features and enough scary moments to make it worthwhile.


I am not, traditionally, a fan of movies in the horror genre. It is, quite simply, not a genre I am into whatwith the prevalence of so many conceits that have become cliche and my general aversion to gore. In fact, among my many film reviews, the only horror movie that comes instantly to mind as a great overall film - the only horror film in my personal collection - is 28 Days Later (reviewed here!). Still, over the years, there have been horror films that I have wanted to see because of the idea and the assumption that if there are so many people who have enjoyed them enough to justify so many sequels that they must be good. At the top of that list is A Nightmare On Elm Street.

A Nightmare On Elm Street had an idea that I was instantly drawn to; the notion that a killer would strike in one's dreams and that such an enemy might use the subconscious to manipulate its victims was actually terrifying. At best, I figured A Nightmare On Elm Street could be dark and psychologically complex. Recently, the local mini-golf course in the village where I live has gotten a pinball machine based upon A Nightmare On Elm Street in and given that it has captivated my partner and I (it is the only game - to date - she has beaten me consistently at!), we decided that we might as well see the source material for the game. That led us to watch A Nightmare On Elm Street and it was a decent combination of the expected and the audacious. Indeed, it is in this movie that writer/director Wes Craven establishes many of the conceits of the horror/slasher genre.

Tina Gray is dreaming of a horribly burned man in a red and black sweater, who has fashioned a glove with knives for fingernails, chasing her around a boiler room when she wakes up in terror. Recounting the dream to her wholesome, innocent friend Nancy, they recall stories of the boogyman and they try to get through their day. However, as night approaches Nancy and Tina learn that their boyfriends Rod and Glen were haunted by similar dreams. Camping out at Tina's house, Tina dreams again of the mysterious fiend and Rod awakens to Tina being bandied violently about their bedroom and he flees into the night after she is cut up.

As the police begin to hunt Rod, Nancy postulates that Rod is innocent and that Tina was actually killed by the deformed man she dreamed. When Rod is killed in his jail cell, after Nancy's father the police lieutenant apprehends him, Nancy fears she might be correct. After pulling the hat off her assailant in her dream and discovering the hat in her bed with her when she awakens, Nancy becomes more convinced that the key to stopping the increasingly gruesome murders is by staying awake. As the body count rises and she learns of the origins of Fred Krueger, the burned man in the shared dreams, she hatches a plan to bring Krueger into the real world where her father might stop him!

A Nightmare On Elm Street is a mixed bag, but deserves a lot of credit for concept and introducing the world to actor Johnny Depp, who plays Glen. Lauded for special effects at the time of its creation, it is generally strong in that regard and viewers ought to be impressed by the make-up special effects, especially of Krueger. The most serious detraction - outside the early 1980's hairdos - is the ending. A Nightmare On Elm Street finishes with a twist that is both conceptually problematic and poor in its execution. The special effect of the final shot mortgages much of the seriousness of the rest of the film and is more laughable than frightening. Moreover, the increased emphasis on Marge Thompson, Nancy's mother, for the resolution is annoying.

In fact, Marge is an all-around problematic character. She is an alcoholic who is full of information which she does not relinquish until plot-convenient moments. Marge is used more for simple plot exposition than actual character development and she acts as an annoying antagonist to Nancy. Conversely, the hardened police detective who is Nancy's father becomes more willing to take a chance on his daughter's wild theory based on the evidence.

A Nightmare On Elm Street is - obviously - not for the weak of heart (though ironically my partner has a weak heart and made it through the movie with only minimal crushing of my hand). The film is not exceptionally gory, but it has a lot (buckets!) of blood. Smartly, the film does not waste any time in getting viewers acquainted with the concept. Unlike something like Jaws (reviewed here!), A Nightmare On Elm Street introduces Fred Krueger, his weaponry, and the concept in the opening frames of the work. The result is a film where the premise is established, known to the viewers and we have a chance to revel in the character's coming to terms with it . . . as the disbelievers and naysayers get slaughtered from their ignorance. A Nightmare On Elm Street is violent and scary as the young people are killed at the time they cannot act to save themselves.

This is where Nancy becomes an almost instantly likable character. Despite being annoyingly wholesome and innocent at the outset, she quickly learns the truth and works to protect herself and her friends. Viewers begin to root for her because she does so much correctly; she tries to stay awake, she educates herself on survival tactics and she tries to find practical, real-world solutions for stopping the bloody murders of her friends.

Writer/director Wes Craven enhances the horror, then, by blending her dreaming horrors with the practical application of teenage fears and insecurities. After Tina is killed, Nancy sees her dead in her dreams several times. One of the permutations on Fred Krueger is that he appears in the dreams with exceptionally long arms while chasing the girl. The effect is less powerful than the concept of the image, which is probably why Craven does not have Krueger reach for the girl with his elongated arms (they simply flap by his sides). The ability to reach the fleeing girl is much more terrifying than the execution.

Because so many of the elements Craven uses in A Nightmare On Elm Street have now become much-imitated (or parodied) conceits of the genre, viewers now will be able to lessen the sense of horror by simply noting when characters are awake and when they are asleep and to his credit, Craven seldom attempts to be clever with bending which is which. Still, there are moments - the claw in the bathtub, being the best example - where Craven is still able to surprise and anyone looking for good jumpy moments will find much to enjoy with A Nightmare On Elm Street.

As for the acting, there is some irony here as well; some of the young performers outshine the adults. Ronee Blakley is terrible as Marge, both in physical presence and the delivery of so much exposition as she is forced to deliver. Johnny Depp is given an auspicious beginning, but he plays a pretty cocky generic boyfriend type here and the only real foreshadowing of his future excellence is in his adequacy in playing a good looking young person. John Saxon and Robert Englund play Lieutenant Thompson and Fred Krueger with both wonderful sensibilities for the real world and over-the-top body movement that can pervade dreams, respectively.

But much of the film rests on the shoulders of Heather Langenkamp, who plays Nancy and here Wes Craven chose perfectly. In the outset, Langenkamp plays Nancy with a sense of wide-eyed (literally!) optimism and wholesomeness. As the movie goes on, she must play her as exhausted and determined and she gets the body language and vocal resolve for both down perfectly. Langenkamp makes it possible for viewers to buy into the extraordinary reality of the "Elm Street" world and her performance sells some of the movie's more potentially-ridiculous moments.

On DVD, A Nightmare On Elm Street comes with the ability to watch either full-screen or wide-screen versions of the movie. There is an informative commentary track which does not repeat too much of the information from the behind-the-scenes featurette. As well, there are deleted scenes and a featurette on the special effects which are informative.

But mostly, the point of A Nightmare On Elm Street is to scare viewers and it works for that. It is good at what it does and if it were not for the very weak ending, it would be worth more enthusiastically recommending.

For other horror films, be sure to check out my reviews of:
The Last House On The Left
Open Water
Hide And Seek

7/10

For other film reviews, please visit my index page by clicking here!

© 2011, 2009 W.L. Swarts. May not be reprinted without permission.
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