A woman is kidnapped by a stranger on a routine flight. Threatened by the potential murder of her father, she is pulled into a plot to assist her captor in offing a politician.
A werewolf loose in Los Angeles changes the lives of three young adults, who, after being mauled by the beast, learn they must kill their attacker if they hope to change their fate to avoid becoming werewolves too.
Director:
Wes Craven
Stars:
Christina Ricci,
Jesse Eisenberg,
Portia de Rossi
A bereaved woman and her daughter are flying home from Berlin to America. At 30,000 feet, the child vanishes, and nobody will admit she was ever on the plane.
Maximillian is the only survivor from a race of vampires on a Caribbean Island, and as a vampire, he must find a mate to keep the line from ending. He knows that a child had been born to a ... See full summary »
A demonic force has chosen Freddy Krueger as its portal to the real world. Can Heather play the part of Nancy one last time and trap the evil trying to enter our world?
Director:
Wes Craven
Stars:
Heather Langenkamp,
Robert Englund,
Jeff Davis
A pair of teenage girls are headed to a rock concert for one's birthday. While trying to score marijuana in the city, the girls are kidnapped by a gang of psychotic convicts.
On the way to California, a family has the misfortune to have their car break down in an area closed to the public, and inhabited by violent savages ready to attack.
Director:
Wes Craven
Stars:
Suze Lanier-Bramlett,
Robert Houston,
John Steadman
After being sent to the electric chair, a serial killer uses electricity to come back from the dead and carry out his vengeance on the football player who turned him in to the police.
This is the story of a young resourceful heroine woman named Lisa Reisert who hates to fly, but the terror that awaits her on the night flight to Miami has nothing to do with a fear of flying! Upon boarding the plane, Lisa is trapped on a red-eye flight with a creepy villainous handsome and charming man by the name of Jackson Rippner, who's playing middle-man in the plot to assassinate a Homeland Security official. He's got her father pinned down by a would-be killer, using that advantage to coerce Lisa into phoning the luxury resort where she works and arranging to move the target into a pre-set position. Written by
Anthony Pereyra <hypersonic91@yahoo.com>
In addition to the different planes shown, the final exterior shot as the plane is taking off is actually a 737 landing. The flaps are clearly in the landing configuration and the reverse thrusters are on. See more »
Quotes
[first lines]
Marianne Taylor:
Taylor. Bob and Marianne Taylor.
Cynthia:
Just bear with me one second.
Marianne Taylor:
There are other hotels in Miami.
Cynthia:
I'm sorry.
Marianne Taylor:
What is the problem? We made these reservations over six months ago.
Cynthia:
I know, ma'am, I'm just not seeing it.
Marianne Taylor:
Well, where's Lisa? Lisa always takes care of us.
Cynthia:
I know, ma'am. She's out of town. Her grandmother passed away.
Bob Taylor:
Cynthia, is it?
[...] See more »
Red Eye is not the kind of movie that's going to win the Palme D'or, but Wes Craven has never been that kind of director, anyway, and his branding is a good indication of what a film-goer can expect.
The fact that Red Eye is a tight little, undemanding package at 94 minutes is part of its charm and an indication of Craven's craft in producing lightweight, but generally enjoyable, box office fare. In fact, it's the perfect kind of movie to show as inflight entertainment, attention-holding without putting any intellectual or emotional challenges on the viewer.
Overall there is a cheesy feeling to the plot, vague terrorist subplot motivation and the supporting characters, and the main section has a TV movie feel. However, there are definite elements of Hitchcockian suspense, and echoes of Schumacher's Phone Booth, which ultimately is a more sophisticated (and pretentious) play on the same idea of emotional crisis being played out suppressed in public.
For a film that focuses mainly on two people sitting in airline seats, it lives or dies on the characters and script. Cillian's icy but eloquent Jackson Rippner and Rachel MacAdams resourceful Lisa are the main reasons the film gets carried off. Not only making the dialogue zing but also giving some sort of Adam's Rib type dimension to their battle of 'male logic' against feminine 'sensitivity'.
In the final portion of the film Craven indulges himself a little Scream style as man-chases-girl-with-knife. The most surprising revelation here is what Brian Cox looks like after the 'Just for Men' treatment, his ubiqutous appearance in films as diverse as Super Troopers, The Ring and this making him the sexegenarian version of Jude Law.
Short haul fun.
49 of 73 people found this review helpful.
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Red Eye is not the kind of movie that's going to win the Palme D'or, but Wes Craven has never been that kind of director, anyway, and his branding is a good indication of what a film-goer can expect.
The fact that Red Eye is a tight little, undemanding package at 94 minutes is part of its charm and an indication of Craven's craft in producing lightweight, but generally enjoyable, box office fare. In fact, it's the perfect kind of movie to show as inflight entertainment, attention-holding without putting any intellectual or emotional challenges on the viewer.
Overall there is a cheesy feeling to the plot, vague terrorist subplot motivation and the supporting characters, and the main section has a TV movie feel. However, there are definite elements of Hitchcockian suspense, and echoes of Schumacher's Phone Booth, which ultimately is a more sophisticated (and pretentious) play on the same idea of emotional crisis being played out suppressed in public.
For a film that focuses mainly on two people sitting in airline seats, it lives or dies on the characters and script. Cillian's icy but eloquent Jackson Rippner and Rachel MacAdams resourceful Lisa are the main reasons the film gets carried off. Not only making the dialogue zing but also giving some sort of Adam's Rib type dimension to their battle of 'male logic' against feminine 'sensitivity'.
In the final portion of the film Craven indulges himself a little Scream style as man-chases-girl-with-knife. The most surprising revelation here is what Brian Cox looks like after the 'Just for Men' treatment, his ubiqutous appearance in films as diverse as Super Troopers, The Ring and this making him the sexegenarian version of Jude Law.
Short haul fun.