‘Fight or Flight’ Review: Outrageously Over-the-Top Action-Comedy Elicits Laughs and Spills Blood With Equal Vigor

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Call it “Chainsaws on a Plane,” and you won’t be far off the mark.

Absolutely, let me rephrase that in a more conversational and straightforward manner:

“Indeed, the only power-driven cutting tool used for deadly purposes can be found in ‘Fight or Flight,’ an action-comedy directed by James Madigan that’s notorious for its extreme and frequently hilarious over-the-top action. It borrows elements from ‘Bullet Train’ and amplifies them significantly, set during a transpacific flight on a massive passenger aircraft.”

(Note: “cut-and-paste lift” refers to the use of large portions or ideas from another work without proper attribution.)

There’s an abundance of other lethal tools used as weapons – such as sprinkler spouts, broken wineglass shards, and even seat belt buckles, not forgetting common firearms like Glocks and assault rifles. Add to that drug-laced darts and various other items, and it’s clear that potential killers have a vast arsenal at their disposal. If you ever ponder how these individuals manage to get such weapons past airport security, even when you’ve been stopped for carrying shampoo in your hand luggage, then perhaps you are just a bit too logical to fully grasp the sheer insanity of “Fight or Flight.

The movie starts off with a graphic preview of what’s to come, serving as both a warning and a sneak peek. In slow motion, set against the ironic tune of “Blue Danube Waltz,” we witness numerous individuals engaged in heated conflicts, exchanging blows, shooting guns, engaging in martial arts, even wielding chainsaws – until an unfortunate bystander is pulled out through a massive gap in the plane’s side.

However, if you pay attention carefully, it’s as if you can make out Madigan saying, “You haven’t seen the best of it yet!

The hustle and bustle momentarily subside as the title “12 Hours Ago” appears, leading us to meet Lucas Reyes (Josh Hartnett, convincingly portraying a rough and disheveled character), an American expatriate living in Bangkok. He’s found slouched in the back of a motorized rickshaw on a narrow street, dressed in what appears to be the same worn cargo pants and Hawaiian shirt for quite some time now. To further emphasize his destitute state, he finishes off a bottle of whiskey for breakfast before stumbling towards a nearby bar for lunch.

In a casual conversation, if I were to find myself in your establishment and should unfortunately meet my end there, you could potentially utilize my organs to settle my outstanding balance. However, the owner gently disagrees, remarking that their value may not be as high as it once was.

It turns out that Reyes is an old acquaintance of ours, a disgraced and fallen ex-agent (previously with the Secret Service) who’s been living in self-imposed exile, consumed by alcohol after a mission gone wrong. He’s not exactly eager to quit his self-destructive lifestyle or go back home. However, he is jolted from his lethargy when he receives a call from Katherine Brunt, an unnamed agency supervisor who also happens to be his former lover (played sternly and alluringly by Katee Sackhoff).

I’m tasked with presenting a unique opportunity: Brunt gives Reyes a chance at redemption, complete with a substantial paycheck, a fresh passport, and removal from the U.S. No Fly List. The catch? He must board a jumbo-sized plane bound for San Francisco within hours, where he’ll hunt down a mysterious figure known as “the Ghost,” a suspected black hat terrorist. Here’s the twist – no one knows what this person looks like or wants to be found. Yet, my associates believe that the Ghost, who was recently wounded and is traveling alone, won’t be too elusive. And don’t worry, you don’t have to kill the Ghost – just bring them back safely.

Of course, none of this goes according to plan.

The initial problem arises when another traveler secretly drugs Reyes’ drink with a sleeping pill and attempts to end him in the first-class bathroom. However, things don’t go as planned because Reyes remains conscious: It seems that years of heavy drinking have given him resistance to most substances, except for something as extreme as a bullet wound. (“I guess you can’t pickle a pickle,” he remarks, expressing his surprise at his resilience.) Subsequently, having dispatched his would-be assassin, he manages to expel the sedative by drinking a bottle of hand soap and soon regains his feet, although unsteadily.

In this action-packed movie reminiscent of the most chaotic Looney Tunes cartoon, I find myself constantly amused by my borderline supernatural resilience. It’s a good thing I’m as indestructible as Wile E. Coyote, because not only does everyone on this plane seem to be an assassin after the Ghost’s bounty, but they also know exactly what I look like.

As a passionate moviegoer, I found myself in an extraordinary situation aboard an aircraft, where I was the sole participant in a relentless sequence of life-threatening encounters. Accompanied by a modest team of flight attendants – the spirited Isha (Charithra Chandran) and the apprehensive Royce (Danny Ashok) – I navigated through various parts of the plane, from the luxurious first-class cabin to the cargo hold. The majority of passengers, who were not professional assassins, either sought cover or unfortunately became unintended casualties in these intense altercations.

Sometimes it appears that Madigan and screenwriters Brooks McLaren and D.J. Cotrona might be improvising as they work, connecting one astonishing, fast-paced action sequence to another with only the bare minimum of links. However, a pattern behind their seemingly random approach becomes clearer over time, particularly when we discover the true affiliation of the enigmatic Brunt.

The chaos here is so exaggerated, it brings about more laughter than surprise. However, some humor without violence can also be found in the midst. A thoughtful addition: The pilots, aware of the situation hidden behind their secured cockpit door, envision themselves being celebrated as heroes like Chesley “Sully” Sullenberger if they successfully land the plane.

However, let me add more details: At one instance, assassins gather as if they were the inept passengers in “Airplane!”, preparing to attack their target. On another occasion, Reyes becomes excessively pumped with adrenaline, leading him to imagine that the Ghost’s backup team of bodyguards dressed in kimonos are fierce female warriors borrowed from an old Shaw Brothers martial arts film.

In essence, Hartnett’s central role is crucial for the success of this work, as he masterfully embodies the violent turmoil, captures audience attention with his energetic and relentless performance, and willingly becomes the target of humor multiple times throughout.

It’s difficult to think of another recent example where an actor has shown such evident joy in their on-screen work as Hartnett does now. Perhaps he’s reveling in his current acting resurgence, or maybe he’s just caught up in the exhilaration of being fully engrossed in non-stop chaos like this. Regardless, watching Hartnett’s enthusiasm is a delight — and it’s hard not to catch some of that excitement!

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2025-05-09 03:30