Opening 20 Feb 2025
Directed by:
Mel Gibson
Writing credits:
Jared Rosenberg
Principal actors:
Michelle Dockery, Mark Wahlberg, Topher Grace, Leah Remini, Monib Abhat
“I’m gonna have fun, I am going to have fun.” Such an innocuous phrase, unless a psychotic utters it. Australian producer-director Mel Gibson, taking that premise and a relatively simplistic storyline screenwriter Jared Rosenberg twists into an astute linguistic pretzel, works it into a psychological drama the main cast of three deliver with bravado.
After a rather dull period, U.S. Air Marshall Madolyn Harris (Michelle Dockery) is given the responsibility of safely escorting a fugitive from the Alaskan wilds to Chicago, Illinois. A witness for the prosecutor and former bookkeeper to the Mafia boss, the bespectacled, mealy complexioned Winston’s (Topher Grace) cooperation is mandated. Instead, Winston’s nerves frayed, so he hotfooted it to the northernmost extremity to disappear. Hence his now being handcuffed and chained onto his seat; Deputy Harris reassures the gum chewing pilot Daryl (Mark Wahlberg) the prisoner is under control and not to talk to Winston. She is obviously unimpressed with the small aircraft’s interior and the onboard racket. Insisting she sit in the co-pilot’s seat and wear headphones for communicating, since he is busy piloting the plane, he explains his usual fares are hearty souls seeking Alaska’s rough and tumble adventures more than comfort. Winston wearily watches from behind, realizing it is almost impossible to get either of their attention. The pilot’s cheeky innuendos give Madolyn pause; when there is a change in the weather, Winston’s shiftiness and the pilot’s bluster mount. There are noticeable dodges, diversions, and then a three-way conversation leads to revelations, apprehensiveness, and earmarks this as a too close for comfort adventure.
Cinematographer Johnny Derango handily films in the confined spaces while incorporating nature’s spectacularity outside the aircraft, Antônio Pinto’s premonitory music punctuates the film’s emotional strain. It is Flight Risk’s psychological subtilties that intensify its edginess, anxiety, and add plausibility to the strong yet flawed characters. Everyone onboard has something to hide but only one thinks of it contradictorily to the mission, which is terrifying in close quarters. (Marinell Haegelin)
