Flightplan is billed as a psychological thriller, and director Robert Schwentke almost succeeds in bringing us just this. Schwentke had all the major ingredients to create something that would be a cut above the standard fair that is increasingly force-fed to an already bloated public. Jodie Foster, plays the recently bereaved Kyle Pratt, who accompanied by her young daughter Julia, (Martine Lawston) is flying back to New York with the body of her husband. So far so good, you might say. Foster is a fine actress who does not disappoint in her portrayal as a woman who is forced to question her own sanity when the disappearance of her daughter is met with a collective, 'what daughter?' response from the passengers and crew.
This response to the missing child sets the stage for what Schwentke hopes will be a tense, claustrophobic, and frantic thriller, dramatically powered by the psychological meltdown of Foster's emotionally fraught Pratt. Unfortunately, this is not quite what the finished product turns out to be. Foster's performance is all that it should be (there are similarities with the role she played so well in The Panic Room), as is that of Peter Sarsgaard, who plays Air Marshall Carson. What happens then is a film that shows early promise - Schwentke initially establishes a grave, disturbed tone - descends into absurdity due to a plot which demands a level of credulousness that defies all reason.
The sheer stupidity of the plot - 'the holes are big enough to fly a jumbo jet through', according to one critic - not only undoes the hard work invested in the early part of the film, it ruins it completely. Peter Dowling's original script would have worked so much better. This involved the slightly more believable scenario of an aviation security agent being forced to participate in a straightforward hijack. Post 9/11, there remains a great deal of residual fear and paranoia surrounding air travel. Sadly, Schwentke has failed to exploit this in Flightplan. There is an attempt to address the issue of perceived Arab terrorism in the film but it seems clumsy and patronising.
There are a few nice touches in the film - the passengers' unease at take off is shown well - but overall, viewers are forced to question the feasibility of the events taking place. Too many questions arise, such as why does Jodie Foster sound as though she is strolling along a wooden stage, in high heels? This is a minor point however, the major one being - and this is central to the plot - how can a plane full of passengers (and crew) not notice a six year old child? Or to put this another way, is it possible for a six year old to remain unnoticed on a plane? I don't think so Schwentke, as much as I would love this to be the case.
This response to the missing child sets the stage for what Schwentke hopes will be a tense, claustrophobic, and frantic thriller, dramatically powered by the psychological meltdown of Foster's emotionally fraught Pratt. Unfortunately, this is not quite what the finished product turns out to be. Foster's performance is all that it should be (there are similarities with the role she played so well in The Panic Room), as is that of Peter Sarsgaard, who plays Air Marshall Carson. What happens then is a film that shows early promise - Schwentke initially establishes a grave, disturbed tone - descends into absurdity due to a plot which demands a level of credulousness that defies all reason.
The sheer stupidity of the plot - 'the holes are big enough to fly a jumbo jet through', according to one critic - not only undoes the hard work invested in the early part of the film, it ruins it completely. Peter Dowling's original script would have worked so much better. This involved the slightly more believable scenario of an aviation security agent being forced to participate in a straightforward hijack. Post 9/11, there remains a great deal of residual fear and paranoia surrounding air travel. Sadly, Schwentke has failed to exploit this in Flightplan. There is an attempt to address the issue of perceived Arab terrorism in the film but it seems clumsy and patronising.
There are a few nice touches in the film - the passengers' unease at take off is shown well - but overall, viewers are forced to question the feasibility of the events taking place. Too many questions arise, such as why does Jodie Foster sound as though she is strolling along a wooden stage, in high heels? This is a minor point however, the major one being - and this is central to the plot - how can a plane full of passengers (and crew) not notice a six year old child? Or to put this another way, is it possible for a six year old to remain unnoticed on a plane? I don't think so Schwentke, as much as I would love this to be the case.