Reżyseria:
Robert SchwentkeZdjęcia:
Florian BallhausMuzyka:
James HornerObsada:
Jodie Foster, Peter Sarsgaard, Sean Bean, Kate Beahan, Erika Christensen, Shane Edelman, Haley Ramm, Brent Sexton, Marlene Lawston, Matt Bomer (więcej)Opisy(1)
Owdowiała Kyle Pratt wraz sześcioletnią córeczką Julią leci z Berlina do Nowego Jorku, by pochować tragicznie zmarłego męża. W czasie podróży kobieta zasypia. Gdy się budzi, córki nigdzie nie ma. Intensywne poszukiwania nie przynoszą rezultatów. Zarówno załoga, jak i pasażerowie samolotu twierdzą, że dziewczynki w ogóle nie było na pokładzie. Kapitan ustala telefonicznie, że Julia Pratt zmarła kilka dni wcześniej w berlińskim szpitalu. Kyle jest bliska obłędu, ale nie rezygnuje z poszukiwań, do których włącza się detektyw Gene Carson. (Polsat)
(więcej)Materiały wideo (1)
Recenzje (8)
This was handled poorly. It doesn't make sense as psychological-ghostly madness or as an action thriller. Perhaps the "more mystical" half is worth watching thanks to Jodie Foster, but during the big twist the screenwriter went crazy and, together with the story, the whole film goes to hell. The fact that Robert Schwentke at least manages to keep the directing slightly above average does not change anything.
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*** Spoilers! *** Flightplan is most reminiscent of Ron Howard’s Ransom. However, whereas Ransom was built “only” on a powerful twist that divided the film into two halves that work separately and together, Flightplan wants to go further; the powerful twist isn’t enough and is instead intended to make a major point. But the film’s insensitive and confusing transition from the first, psychological level to the second, action-oriented level requires viewers to spend ten minutes finding their bearings in the plot, after which they are only served a portion of American heroism. Flightplan is a technically precise, atmospherically and psychologically well-made drama that turns into a feminine version of Air Force One. And that’s a shame.
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This is a drama that is much stronger in its questioning when it provides no clues, let alone answers. When it stops asking, it quickly, very quickly, loses steam and the ending becomes painfully routine, riding on the most embarrassing clichés. The film starts at 4 stars, only to slip to one in the end. I'll give a final 2 stars for Jodie Foster's effort. Overall impression: 40%. That plane looked more like an ocean liner or a luxury hotel. Either way, its operator doesn't bear the burden of fuel payments. This is only possible in the aviation fleet of some oil-soaked Arab state...
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Had it not been for the terrible screenplay, this could have been a more than decent thriller. The interesting introductory premise remained criminally unused. At the same time, from the beginning (or in the first hour or so of the movie) everything looks pretty good until the "shocking climactic twist", which while everyone anticipates it, at the same time everyone hopes with all their might that it wouldn’t come to this... But it does. After the psychological-mystical introduction comes the action-dramatic finale of the worst and saddest type. The screenplay is truly weak, with poorly written characters. At least the actors give as much as possible to these desperately one-dimensional and mostly useless characters. Even the director tries to disguise the weaknesses of the screenplay as much as possible, but it simply cannot be done and so it remains a mediocre affair in all respects.
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I liked the first half of the movie a lot. Just the kind of psychological puzzle movies I like. But suddenly the villain is revealed to the viewer and a huge and stale bore begins. She tries, blah blah blah... he's hot on her heels... and she eventually escapes him. She's a hero. Except for the ridiculously flubbed ending, a nice show.
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