Have Your Cinema Provided Chairs With Sick Bags And Oxygen Masks?
If not, well, you’ll probably wish they had. With the events of the plane crash almost unbearably intense, Zemeckis ensures you feel every bump, bone crack and jolt of turbulence along with those in the fuselage. It’s safe to say this is one film that will be left off the inflight entertainment list for the foreseeable future.
What’s With The Music, Bob?
Whether it’s jangly elevator music or soft rock while Reilly shoots up, the hilariously clichéd cues are either Zemeckis having a tongue in cheek pop at addiction or quite clearly admitting on celluloid that he has never listened to any Red Hot Chili Peppers lyrics before.
An Immoral John Goodman Is Fine As Long As He’s Completely Hilarious, Right?
Oh, Harling Mays. Providing what is sure to be one of the best lines of the year alongside Chastain’s moment of motherfuckery, Goodman is totally out of sync with the rest of the film. But, unsurprisingly, it works. Whip’s dodgy dealings have us wise to the fact he’d be acquainted with the odd loose cannon or two, but when Goodman is on top scene stealing form, we let our moral compass drift into the background, even when we can’t quite believe what we are witnessing.
Can You Please Stop Being So Darn Bewitching, Kelly Reilly?
Though initially feeling like she may have been spectacularly miscast, her onscreen presence (THOSE EYES!) soon has you by the scruff of the neck, allowing her silent moments to tell you everything. The rest of the film may not live up to its high-octane first thirty minutes, but the cast undoubtedly deliver.
Where Did James Badge Dale Go?
Dale may only pop up for five minutes, but he is marvellous – even if you can’t shake the idea this is what Joseph Gordon-Levitt would have ended up like if the events of 50/50 stretched out for another twenty years. Cheeky and one of the film’s best surprises, Dale is the film’s first hint at the power of fate and predestination.
How Can A Woman Knit So Well When She’s An Addict?
I appreciate knitting may be a therapeutic way to deal with the issues of addiction, but I desperately want to see the patterns of the woman who is happily knitting away during an AA meeting. I imagine her house to be full of cats sporting rather questionable crochet leggings.
Where Are The Redeeming Features In Your Script’s Main Character, Gatins?
Though it’s pretty much impossible to like or sympathise with Whip throughout the film, Flight’s representation of addiction is refreshing and doesn’t go quite where you might expect. As Whip picks up and drops his audience like he does those around him, you remain fascinated as to just how far he will fall each time. It’s novel to see someone not want help, thankfully avoiding a lot of big, cliché-filled potholes.
Did We Really Need Piers Morgan?
Piers, Piers, Piers. It might seem out of the box for an American film to include a British anchor instead of their usual conveyor belt of chat show hosts, but we were beginning to feel like we’d got rid of him. Granted, Morgan is big business out in the U. S. of A., but I think most of us would even have stomached a Nick Grimshaw insertion for British shores.
Is God In The Details?
Talk of predestination is plentiful during Flight, with Cheadle raising the issue of ‘an act of God’ on more than one occasion. Hell, there’s religious undertones popping up left, right and centre. But if Oscar Season truly was an act of God, John Hawkes would have been nominated, you know what I’m sayin’?
Flight is released in UK cinemas today.