Red Eye

Red Eye (2005) is a nifty, efficient thriller. Wes Craven sells a paper-thin premise with commendable economy, helped by two effective stars.
Lisa Reisert (Rachel McAdams) boards a flight alongside Jackson Rippner (Cillian Murphy). The two flirt until Jackson reveals that he's plotting to assassinate a Homeland Security official (Jack Scalia). Lisa's the manager of a hotel where Jackson's target is staying; he holds Lisa's dad (Brian Cox) hostage to ensure her cooperation in arranging the assassination. Lisa struggles to control the situation, but can't escape Jackson's entrapment until it seems too late.
Red Eye is a faux-Hitchcock trifle better watched than analyzed. Carl Ellsworth's script hinges on a thin premise, tied into a goofy murder plot: Why blackmail Lisa in the first place, rather than infiltrate the hotel or, you know, figure out where the target's staying? Why is the Secretary's specific room so important? Why fire a single missile after all the trouble arranging the assassination? It makes wooly sense if you piece it together, but surely there are easier ways to murder someone.
What works is Craven's direction, claustrophobic yet slick and fast-paced. Our leads have nice chemistry, swerving from flirtation to mind games. Jackson holds all the cards yet loses control; Lisa, implacably controlled, is forced to confront her vulnerability, symbolized by a hidden trauma. Jackson manipulates Lisa's actions to allay suspicion, culminating in a bathroom fight misinterpreted as a tryst. Jackson lets his guard down when victory seems certain, allowing Lisa her opportunity.
This builds to a thrilling final 20 minutes, as Lisa races across Miami to save her dad and foil the terrorists. Craven's slow-burn suspense explodes into all-out action, making up for any rough patches in plotting. We get shootouts, bombings, car chases, a hockey stick-knife fight and an impromptu tracheotomy. Lisa sprints across an airport in high heels, Jackson becomes Michael Myers, absorbing all manner of trauma. It becomes absurdly exhilarating, culminating on an improbably humorous note.
Rachel McAdams sells an improbable character. Controlled yet delicate early on, she convincingly morphs from terrorized victim to resolute heroine. Cillian Murphy's off-beat charm is a perfect match; he switches between friendly and frightening with ease. Both leads commit with performances better than the material might deserve. Jayma Mays provides some much-needed humor as Lisa's put-upon coworker; Brian Cox appears without acting.
Red Eye's an above average Saturday night viewing, superficial but well-constructed. Sometimes you watch movies to appreciate artistry and explore new perspectives on life. And sometimes you want to see Rachel McAdams beat Cillian Murphy with a field hockey stick.