Red Eye (2005)

Red Eye delivers a gripping political-thriller concept with solid tension and engaging conflict, though some character decisions and dialogues strain believability. The emotional manipulation between Lisa and Jackson feels forced, given his cold-blooded persona, and minor characters, like the flight attendant, lack realism. Despite its logical gaps, the film remains an entertaining pick for thriller enthusiasts. Read the full review here: (Indonesian version : alunauwie.com) and (English version : uwiepuspita.com)

Red Eye is a solid thriller that builds tension well, especially in its first act. The slow-paced setup allows for strong character introductions, but it does feel like Rachel McAdams' character should have picked up on Cillian Murphy's unsettling presence sooner. The second act loses some momentum, with certain scenes dragging more than necessary, but Wes Craven's direction keeps the suspense alive. The final act is where the movie really kicks into gear, delivering a satisfying climax. The script does a good job of balancing psychological tension with action, though some moments require a suspension of disbelief—especially regarding in-flight conversations that seemingly go unnoticed by passengers. Cinematography is straightforward but effective, using tight framing to enhance the claustrophobic feel of the setting. Cillian Murphy brings an eerie, controlled intensity, while McAdams carries the film well with a believable performance. The supporting characters don’t add much, and the film occasionally misdirects attention to elements that don’t pay off. The score complements the suspense but isn’t particularly memorable. While not groundbreaking, Red Eye is an entertaining, well-crafted thriller that works best when it leans into its psychological tension rather than its action.

"Lisa" (Rachel McAdams) is chatting away to her fellow passenger on an aircraft when suddenly things all start to take a bit of a menacing turn. It turns out that "Rippner" (Cillian Murphy) needs her to contact the hotel in which she works and get them to move a visiting - and important - family to a new suite. Should she not acquiesce to this perfectly reasonable request, then he has a pal on the ground who is all set to bump off her father "Joe" (Brian Cox). For the first half an hour, this is quite an effective thriller - the dynamic between the two, with her hemmed into her increasingly claustrophobic airline seat, helps build quite a decent sense of peril. Sadly, though, as she begins to fight back the scenario begins to lose it's potency. His complete control of the situation begins to become more and more compromised as serendipity takes just bit too much of an interest in the story for my liking. That's not to say that "Lisa" need be a shrinking violet in the face of her psychological oppressor, it's just that the fightback is all just a bit far-fetched, before a rather messy and unsatisfying ending that you just know is going to happen. Murphy can be quite an edgy character actor - he is an attractive man with a hint of something underhand (I think he'd make a good "Bond" villain) and McAdams is confident and competent - it's just the originality of the story that peters out and becomes predictably mediocre.