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The film is of the same genre as "Red Eye" (Dir: Wes Craven, 2005) but different in the breadth of information dissemination in the story by using a restricted narrative that hides some key information from the audience for creating tension.

The film makes implicit reference to "Panic Room" (Dir: David Fincher, 2002) by building a situational similarity of (1) having the event happened in an enclosed space; (2) having a female protagonist protecting her weak daughter and (3) placing the protagonists in isolation (physical isolation in "Panic Room" and psychological isolation in Flight Plan).

It is mounted with tension throughout: (1) Who are the antagonists in the middle of the film and (2) how will Kyle Pratt (Jodie Foster) strike back and save her daughter, Julia (Marlene Lawston), at the end?

Compared with "Red Eye", most dialogues are replaced by flashbacks which are used to account for the past of Pratt and her daughter. Discontinuous editing is used in the expository sequence to warm up the brain working mode of the audience to assemble the snaps of events. For tightening the mystery, some illusions are deliberately created by visuals on the facial expressions of characters of supporting roles, Captain Rich (Sean Bean), Air Marshal Gene Carson (Peter Sarsgaard) and the air-hostesses in particular. These cues, some real and others not, serve to perpetuate the hypothesis formulating process on the part of the audience under a restricted narrative.

The plane in the film resembles A380 double-deck Airbus (model 8747 in the story - though not in existence in reality). The double-deck interior generates more manoeuvres of the characters and allows much "room" for story development in terms of spatial dimension of the story. Yet, director Robert Schwentke deemphasizes the exterior of the plane by having blurred and subdued image on its taking off and touching down as well as not bringing its exterior logo into mise-en-scene. This narrative device effectively directs the audience to focus on the events on board the plane.

The film features a variety of artistic shooting and framing (mirror reflex, peep) at the beginning to strengthen the narrative components of thriller and mystery. Schwentke further uses versatile camera movements (crane, aerial travelling, tracking, and oval) inside the plane to reduce monotony of shooting under un-spaciousness. Acoustic elements of ambience noise and chromatic/string music of varying tones and pitches denoting differences in plot development in the narrative are finely used.

Superior to "Red Eye" in reality terms and mounting of tension, it is a very entertaining movie of the same genre after "Panic Room".

註：本評論純屬影評作者個人意見，並不代表本網立場。
Note: This views presented in this review is solely the views of the critic who wrote it and do not represent the stance of our website.

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