Flight

The authentically tattered Denzel Washington turns in a great acting performance. Robert Zemeckis directs as if he himself is sobering up after a (CGI) bender. The timeless story of (in)voluntary dependence and the regaining of lost control is sometimes told in a unfocused way and very slowly so that we can grasp every idea conveyed to us and almost undramatically (for example, the suspense of the airborne introduction is weakened by the second storyline with Nicole). Whereas the first, more action-oriented half of the film, which promises a quick transformation of the protagonist, is still nicely rhythmised with alternating quiet scenes and scenes underscored with modern music, everything blends together in the second half and the hope for change diminishes. After being jolted by the plane crash, thanks to which he literally gets his feet back on the ground, Whip is determined to get his life in order. However, his determination is perceptibly weakened by the necessity of facing his own misconduct and waging a battle whose cause he considers to be nonsensical. Though Whip did a heroic deed, he is not a Hollywood-style movie hero. In a crime thriller, he would be both the culprit and the investigator, and Washington succeeds in brilliantly portraying this inner ambivalence even though he wasn’t given many big dramatic moments or the possibility to bring clarity to his character’s gradual transformation. He doesn’t undergo continuous development toward being better and, as such, he does not deserve sympathy. The director is interested in him without pathos, without empathy, as if he is merely an object to be observed; there is definitely nothing cool about his constant intoxication (so there are no subjective shots, no boozy sequences with rock music).  SPOILER – With views from the outside, when Whip becomes a witness to his own actions (through television news reports), Zemeckis lays the groundwork for the final revelation of who has (apparently) held the narrative perspective throughout the film. The film also comes across exactly like a sincere confession by a reformed sinner who despises his former self. – END SPOILER. Flight is an exemplary “crisis” film. Somewhat naïvely, but without exaggeration or the cheapest screenwriting tricks (those don’t come until the end), it warns against seeking solace in drugs and alcohol. Though the film has hints of a religious message, deliverance ultimately doesn’t come in the form of God (at whose fanatical following Flight glances askew), but simply and ordinarily in the form of family. Cynicism aside, even such films as this are necessary today. 70% (02/21/2013)

The first half-hour of Flight is a perfect lesson on how an elite pilot should behave in a crisis situation – knock down a pint of vodka with juice, turn a plummeting plane upside down, and land it in a field full of religious people. Zemeckis handles this little excursion into the disaster genre so masterfully that even James Cameron should applaud him from the deck of the Titanic. The rest of the film, however, is a rather painful confession of a broken alcoholic, which is not as dynamic as the spectacular opening, but it maintains an admirable emotional level, mainly thanks to Washington's first-class performance and the very naturalistic direction. Sometimes it hurts to look the truth in the eye, but this is the kind of film worth enduring that pain for. 80% (09/02/2013)

Zemeckis lives! After three techno-animation flicks, he’s finally back to live action with an ambitious drama with Denzel Washington in the main role. But it’s not really reason enough to uncork the bubbly. Flight is nothing more than a slightly above average film hurt by a too long run and going in circles (I drink. I won’t drink. I drink again. Now I won’t drink again, really), and the pointless subplot with Kelly Reilly, who gets into Denzel’s life out of nowhere, only to equally fast disappear. The plane crash scene is breathtaking, though, and one of the best of its kind I’ve ever seen, it’s a pity that it’s right at the beginning and the film has nothing else to climb with, on the contrary, it dives down from there; like a plane. (01/10/2013)

A slow, moderate and conservative film with as much humanism as possible and a proper moral lesson at the end. Robert Zemeckis is a skilled director and leads the actors excellently and Denzel Washington delivers an extraordinary performance. The crash scene is not as intense as I imagined, but overall the drama is okay. The hero behaves logically, I enjoyed the dialogue sequences, and we also have a solid twist. The character of Kelly Reilly seems a bit redundant and forced (just to have a romantic storyline), but that's a minor detail. Maybe not the second Forrest Gump, but I expected something much shallower. (03/31/2013)

It was impossible not to know about this movie before its premiere. You see, I found the premise really appealing anytime I thought about it. I mean who wouldn’t like to see an airplane pilot save most of the passengers and crew with an absolutely incredible maneuver, all this while drunk and as high as a kite? The scene of the plane crash is so brutal that I could barely breathe in the first thirty minutes of the movie. Then the movie moves on to the investigation and at that point I sort of thought that the film would slow down somewhat. It did, but surprisingly, it didn’t get boring. For a movie that takes two hours and fifteen minutes, I must say ‘good job!’. On top of that, Denzel delivers a very good performance. I haven’t seen a person dissected so naturally in a movie for a long time. Absurdity mixes with reality, but the result and the final scene were definitely worth it. (02/21/2014)