The driest screen production since that “clear eyes” guy.
-Annsleigh Thornton
Atlanta, Georgia Have you ever experienced a moment of intuition? A point in which you knew exactly what would happen, though you had no idea of that moment’s agenda? The ability to predict the outcome of a situation is often seen as a gift. However, encompassing the power to foresee the conclusion of a movie is more of an annoyance than a “present”. This is exactly what occurs for first time viewers of “Red Eye”. To their demise, it is possible to predict the subsequent events of each scene without former knowledge of the film. The characters are far too predictable and the details of the movie are emitted in its first few minutes. “Red Eye”, a 2005 production, is the perfect example of a film not holding its validity through time. As the movie approaches its 7th year anniversary, horror films that follow its production give way to “Red Eye’s” formula: mysterious guy harms new-age-independent woman, but is left to battle the strong male patriarchal figure. With this cinematic blueprint, the audience can deduce a number of accurate outcomes. Will “Red Eye” defy its plausible conclusions? Or put you to sleep, more solemnly than those Ben Stein commercials?
(Ben Stein’s Clear Eye Commercial)
“For dry red eye, clear eye is awesome”, is the acclaimed quote popularized by Stein. He is known for his monotone delivery and blunt approach. His sound, intertwined with his drab appearance, adds a comedic element to the Clear Eyes informational. But just as this service announcement uses predictable dialogue, so does “Red Eye”. But unfortunately, to no cinematic avail.
(Red Eye Trailer)
Directed by Wes Craven, “Red Eye” is majorly set on an airplane in route to Miami, Florida. The antagonist, Jackson Rippner (Cillian Murphy), uses convincing language to gain the friendship of Lisa Reisert (Rachel McAdams) while awaiting their flight. His language is so convincing that the audience is forced to acknowledge a few “red flags”. Ruppner’s shadowing hair cut, vampire-like bone structure, and mysterious blue eyes, do not condone Jackson’s motives. Viewers, now doubtful, are proven right of their assumptions. Rippner is coincidentally placed in the seat next to Lisa. The audience suspects trouble at this very moment. Lisa too becomes alarmed, making note of Jackson’s name. This, ironically, is extremely close to “Jack the Ripper.” This scene is so cliché, social allusions are accepted.
(The Secret Identity of Jack The Ripper – F.B.I. Reports)
The style in which characters are introduced is also overused. The elongated conversation between Lisa and the nice older lady (Angela Paton) sheds light onto the woman’s eventual role. This same method occurs for all supporting characters, introducing the blonde woman (Laura Johnson), irate passenger (Loren Lester), and male siblings (Max Kasch and Kyle Gallner) in a similar manner. The intended audience for this film would have to be cinematically naïve, ready to jump at every scripted moment and scream at every planned surprise. I expected each thrilling scene to come about unexpectedly. I was hoping to feel some form of suspense, experience just a bit of mindboggling confusion. But my intentions and standards for the film were unmet. Watching Craven’s work can easily be compared to the live viewing of a game show with employees working the audience using handmade signs, painted with words such as “Boo” and “Cheer”. Because the crowd has been told how to respond, the show is live as pre-recorded Oprah (and that’s not live at all). Just as they are told to shout and cry, Craven has told me to jump and scream, with no room for wonder or personal choice.
(Debut of Supporting Characters)
As the viewer, I am stuck in a box. With nothing else to do but root for the heroic female whom I know will be victorious. I am psychologically, emotionally, and intellectually trapped. Lisa’s ignorance affects me mentally, driving me crazy as I beg for her to think logically, and not in the sense of a fragile female. Emotionally, I fear for no one, knowing that in the end all good-willed characters will survive. I am only moved, angered rather, when Lisa appropriately falls twice in her pursuit of survival. My intelligence is taunted as Craven incorporates a scene that is so far-fetched, all fear is eliminated. When a group of hired shipmen recover a number of “bazookas” from an underwater crate, in preparation for the obliteration of one hotel room, the movie loses its validity and connection to reality.
I will credit Wes Craven for establishing a central theme: The value of life. An example of this is Lisa’s original neglect of her father, then sudden appreciation of his existence once his life is in danger. The value of life is distributed throughout the entire film. Lisa cherishes her father’s life more than the targeted victim, but feels selfish once realizing that not just one man is being sacrificed. The assassin, however, has no remorse for anyone but himself, valuing his survival more than the well-being of an entire family.
But the wrong-doer seemingly never dies. After being stabbed and shot, Jackson’s quest for Lisa’s death persists. It’s unbelievable that he can still run with increasing speed and breathe affectively. Unbelievable, as well as unrealistic. Just as unrealistic as Stein’s crafted excitement from ridding dry eyes of their agonizing redness.
The idea that this film was created to excite an audience, with no regard to depth or content, drives this review. It also supports and explains why this film does not work. I would rather see Stein take on stereotypical Russian assassins. At least I would be surprised with the outcome. “Red Eye” left me dry-eyed, with no compassion for Lisa, her endangered father, or Craven’s unoriginal plot.
(Jackson’s Never-Ending Death)
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