We call it “a saw on a plane”, and it will not be far from the mark.
Of course, in order to be completely accurate, there is only one cutting tool that relies on power for deadly use in “fighting or flying”, which is a terrible director James Madejan and often behaves significantly during a limited flight on a vapor plane.
But there is SCADS from other sharp objects used as weapons-including machine guns and the appearance of glasses-besides knives, swords, drugs, and even the seat belts, nothing about traditional artillery such as Glocks and Assault Geppons. (There are no snakes,) If you find yourself wondering from time to time how many ambitious killers have been able to get a lot of these things in airport security, especially after you have been seized to try to ride a local trip with a bottle of shampoo in your reserved luggage, well, you may be just a very logic for the full estimate of the introduction of the Bower in “fighting or flying”.
The film begins with the extent of super violence and acts as a warning to the due materials and the trailer of the upcoming attractions. We see in the SLO-Mo sequence with the “Danube Waltz Blue” soundtracks, dozens of people in an angry quarrel with each other, throw punches and release weapons, Kung-Fu’s fighting, and yes, a saw with a saw-so that one of them does not wander in a large hole in the plane.
But if you listen closely, you can hear Madijan almost: “You haven’t seen anything yet!”
Things calm down a little-timer, at least-where the title “12 hours ago” appears on the screen, and soon we got to know Lucas Reyes (Josh Hartnett, an impressive game and Grungie), a previous American line that is very similar to something that was pulled in the cat, and reconsidering it outside. He retreated in the back seat in Bidkap is a mechanism on Bangkok back, wearing what we can only assume that it is the same pants of goods and the Hawaiian shirt he was wearing, oh, maybe a week or so. Only if we fail to understand the depth of his external position after he discharged the last contents of the whiskey bottle for breakfast, it moves to a nearby bar for lunch.
“If you die in your tape,” Reis tells the owner’s rejection, “You can sell my organs to pay my tab.” The owner shakes her head pink, then he replies: “I don’t think they deserve what it was.”
It turns out that Reyes is our old friend, who is the former factor of the former agent (in this case, a previous work in the secret service) drinks his way through the exiled exile after a catastrophic mission, and not in a hurry in hurry and inlaid to the house and returning home. He only raised his self -destructive sudden when he receives a call from the supervisor in some of the unveiled agencies, Catherine Brunt (Kitty Sakov, very attractive), who coincides with his ex -girlfriend.
BRUNT Reyes offers a snapshot in redemption-along with a huge salary and a new passport and remove from the Fly No Fly-Fly-FLY menu if it approves a jumbo plane ride just hours from take off to San Francisco. His impossible mission: determining the “Ghost” location, which is a mysterious “terrorist” terrorist “that is believed to be one of the passengers. Consider, no one has any idea of the terrorist form, and he certainly does not want to be present. However, hey, the brunt people know that the ghost was recently injured and travels alone, so it should not be difficult to find. Besides, Reyes does not have to kill the ghost – just return them alive.
Of course, nothing of this goes according to the plan.
The first complications arise when the passenger colleague connects a Reyes drink with a sedative, then carries it to the luxurious bathroom to end it. Instead, this was followed by a battle, because Reyes is far from the subconscious: it is clear that heavy drinking in the long run made it fortified than anything less than a bullet in the head. (“I think you cannot pick up pickled,” he says, and he is surprised by his durability.) In fact, after exterminating his potential killer, he simply forces himself to throw analgesics by nullifying a bottle of liquid soap. Then he returned on his feet, even if he was formed.
Soon the natural border border flexibility becomes an entertaining gag in a movie that plays like the most graceful caricature of Colone Tones ever. It is good that our hero is not destroyed more than Wile E. Coyote, because he quickly learns that (A) the entire plane is filled with gloves that eager to collect a reward for the ghost, and (B) the same killers have been transferred to what appears to be.
With the help of young employees amazingly from the flight attendants that include Ishha, researcher (Sharthara Chandran) and Royce anxiety (Danny Ashok), Reyes is steadily increasingly participating from murderer’s murderers throughout the airline, from first -class first -class aircraft, while travelers of murderers, coverage or wind are not affected.
There are times when Madijjan and the script book Brooks McLaren and DJ Cotona simply make things while they are advancing, just provide a primitive link from the super jaw working group to another. However, they gradually emerge as a way to their madness, especially when we finally learn what the organization is working with the background.
Cartoon chaos is so more laughing than moments. But there are a few non -violent lines in the mixture as well. Nice touch: The pilots, who know what is going on behind the closed cockpit door, imagine that they will be champion as heroes like Chesley “Sole” Solinberger if they could land on the plane.
But wait, there is more: at one point, the killers like Slappers in “AirPlane!” To take crack in their goal. At another stage, Reyes surpasses adrenaline, to the extent that Hilassa is that the reserve version of the ghost is a personal guards who wear Kimono, they are loaned on loan from the Shaw Brothers combat epic.
Ultimately, it is very doubtful that any of this works well as without Hartnet in the middle of the storm, consolidating the bloody chaos and generating the root interest with the performance specified by circular physical, enthusiasm of industrial strength, unprecedented desire, and even passion, to make itself repeatedly a joke.
One may have severe pressure to summon another example of an actor who expresses such a tremendous joy in what he does on the screen. Heartnit may celebrate his return to his career, or it may be at the head of an arousal in such a wire to the wire. Either way, Harnette’s bliss is great.