Mel Gibson’s Flight Risk Crashes at Takeoff

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The primary question arising in the rather unremarkable thriller “Flight Risk” is not about whether the U.S. Deputy Marshal, grappling with troubles, will manage to hand over her fugitive or if the hitman hired to thwart them will face his due consequences. Instead, the real curiosity lies in understanding why Mel Gibson, a director who won an Oscar for Best Director with “Braveheart” and moved audiences globally with powerhouse films like “The Passion of the Christ”, would choose a thriller that lacks intensity and tension as his first project since 2016’s “Hacksaw Ridge”.

It seems likely that Gibson is employing the movie “Flight Risk,” which was filmed primarily inside a small Cessna Grand Caravan airplane, as a sort of warm-up for tackling “The Passion of the Christ: Resurrection.” Alternatively, this filmmaker known for stirring controversy might be testing our willingness to overlook his recent forgettable acting roles in direct-to-video productions and instead appreciate his exceptional directorial skills. Regardless, these skills are hardly showcased in “Flight Risk,” a surprisingly bland genre piece that barely manages the enthusiasm required to function as an entertaining B-movie distraction.

A Promising Takeoff Leads to a Boring Flight

This movie was developed from a script by Jared Rosenberg, which made it onto the 2020 list of the year’s top unproduced screenplays, the Black List. The reason for its recognition remains intriguing. Nonetheless, the plot setup is engaging enough. The narrative commences in an Alaskan motel where fugitive accountant Winston (Topher Grace), under U.S. Deputy Marshal Madolyn’s (Michelle Dockery) custody, is apprehended. Subsequently, he’s transferred via a Cessna to Anchorage for court, where he will testify against a notorious criminal figure named Moretti. The pilot of the Cessna is Daryl (Mark Wahlberg), who exhibits a chatty and flirtatious demeanor, along with a “redneck” personality.

Up in the sky, Gibson grips our focus as Winston uncovers Daryl’s role as an assassin intent on his demise. However, if you think that their ensuing fight triggers a high-flying adventure, you’d be off the mark. When Madolyn finally subdues Daryl, the film’s central tension shifts to the cargo hold of the plane. Despite requiring her to navigate and safely land what resembles a kite with seat belts, her tasks primarily involve gazing out the window and chatting on her phone.

It’s quite unexpected that there’s barely any cat-and-mouse strategizing among these three characters who have contrasting goals, except for Daryl who consistently provokes Winston with insults about his mother. Apart from this occasional tension, the events unfold in such a predictable manner that by the time Daryl, defeated and bleeding, utters another threat through gritted teeth for what feels like the hundredth time, our curiosity has already waned.

Mark Wahlberg’s Bald Cap is Ready for its Close Up

The overly thick pieces of this performance could go down smoother if two of the three actors hadn’t seemed like alternative picks to Mel Gibson. The actor from Downton Abbey lacked the necessary steeliness that an actress of Jodie Foster’s caliber (who worked with Gibson in 2011’s underrated The Beaver) would have brought, while Grace felt insubstantial and struggled to carry the film’s sarcastic one-liners, which were its only source of humor. However, Wahlberg, playing a madman in a meme-worthy bald cap, was the only one who added energy to the movie, making it all the more disappointing that he spends so much time off screen.

Exhausting more of her energy are Madolyn’s discussions with her ground superiors to find out who exposed Winston’s location. This question seems quite dull as it uses terms like District Attorney, informant, and Attorney General that might not be familiar or interesting to us, making it feel like a real-life version of a less engaging episode from Law & Order. The mood is also dampened by Madolyn’s lengthy discussions with her superior Van Sant (Leah Remini), who eventually discloses the ordinary and somewhat unremarkable explanation for why Madolyn hasn’t received a field assignment in months.

A more appropriate way to phrase this could be: Hassan (Maaz Ali), the ground pilot, is particularly forward with Madolyn during their critical landing situation. His behavior towards her is inappropriate and humiliating, even if one assumes he’s trying to flirt or invite her out for drinks to keep her composed. Unfortunately, such actions are reminiscent of a screenwriter or Mel Gibson who finds such scenes amusing.

It’s interesting to note that despite Flight Risk being just Gibson’s sixth directorial effort, it showcases his and cinematographer Johnny Derango’s impressive ability to make full use of the confined space within the LED soundstage known as the Volume. This same stage was prominently used in season one of The Mandalorian. In terms of editing, Steven Rosenblum skillfully maintains a swift pace for each scene, although the overall production appears somewhat lengthy and could benefit from more building tension.

Gibson Takes No Risks in Piloting this ‘Flight’

https://youtube.com/watch?v=ojC9JBuccJA

In a nutshell, Gibson isn’t breaking new ground with his limited cast and confined setting as a way to create suspense, as numerous other directors have done effectively in films such as Hitchcock’s “Lifeboat”, Reiner’s “Misery” and Cuarón’s “Gravity”. However, while “Flight Risk” manages to deliver tension, it fails to fully utilize its dramatic potential and character development, opting instead for repetitive action sequences, a lackluster mystery, and an expected outcome. Despite this, Gibson’s ability to direct a film after a nine-year break is evident, but perhaps he should aim higher than this type of project.

On January 24, the joint production of ‘Flight Risk’ by Icon Productions, Davis Entertainment Company, Hammerstone Studios, and Media Capital Technologies hits the big screen.

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2025-01-24 02:01