Red Eye : Vol sous haute pression

It's a pity, as the potential of this film was much, much greater than the bland result. It was missing only a little to become an imaginative A-list intimate thriller that, while not fully matching, could certainly come close to the quality of Phone Booth. The original idea and quality cast are commendable. Rachel McAdams, and especially Cillian Murphy, raise the film's level by 20%. Up until Lisa's escape from the plane, the film's atmosphere is excellent, and the tension is palpable. However, after that, the screenwriter and director run out of ideas, and the quality plummets like a parachutist without a parachute. The characters' actions lose all logic and credibility. The final showdown in the father's house is just a collection of the most worn-out genre clichés. In Scream, Wes Craven had a lot of fun with them, but here he succumbed to them. I'm sure that parodying the ending was not his intention this time. Overall rating: 60%. (2006-07-10)

Another hugely emancipated thriller that apologizes for the eighties and nineties, or possibly just for Lars von Trier. Notwithstanding the fatal plan of the main villain, the heroine this time is mainly concerned with humiliating the oppressor rather than killing him, as therapy for the involuntary buttfuck she took three years ago and carries with her in the form of a scar over her breast. Just see if it's not a bit of a disservice to demonstrate the supremacy of female inscrutability over male pragmatic logic by sticking him in the throat with a pen (mightier than the sword) and transitioning from the mode of a tightly-written dialogue thriller on the stage of an airplane seat (where the man has the upper hand) into a B-grade final showdown at a house in the suburbs (where the woman has the upper hand). As an added bonus, most of the female users' ratings are limited to the godliness of Cillian Murphy and his eyes. So I guess I don't know. (2013-11-05)

Craven still knows his stuff and I can’t wait for 25/8. The most interesting part of Red Eye takes place on the plane with the constant confrontation between the charismatic villain Cillian Murphy and the likeable Rachel McAdams. The final impression is brought down by the last half hour, but the culprit is the screenwriter and not Craven – I would have welcomed something harsher and more uncompromising. Otherwise, Red Eye is a pleasant and tense thriller that flows like water. (2008-11-08)

Craven’s best film; atmospheric, sophisticatedly written and, despite the minimal plot space, endlessly creative and entertaining in its direct psychological pressure and clever subplots. The sympathy for the protagonist, especially crucial in the final B-movie-oriented showdown, works great thanks to an excellent emotional performance by Rachel McAdams, while Cillian Murphy is terrifyingly convincing (or is it convincingly terrifying? ), and I really liked the clever manoeuvring of the moral dilemma of "not risking my father's life and being complicit in an assassination, or taking a risk and try to save everyone", even though the developments "on paper" are obvious from the start and essentially unsurprising. But as I said, the development "on camera" is amazingly attractive this time, the fifth star was not far away... (2015-12-11)

It's like seeing a modern-day Hitchcock. Pacing from start to finish, nervy and cynical humor for light relief, and most importantly a polished script that makes the most of everything in the end. Every minor character, even briefly introduced, and other aspects like the renovated house or the mention of a knife or a sport... Nothing is extraneous, everything makes sense sooner or later; it’s just great. The part on the plane is very suspenseful, the part after the plane is again somehow tense, and I didn't find the ending at all out of place with what preceded it. Indeed, I was again reminded of the finales of Hitchcock films, which often took place in a different setting from the rest of the film, and nobody minded. (2020-07-19)