‘Flight Risk’ Review: Mel Gibson’s Latest Directorial Effort Stalls Before It Gets Off the Ground

by

In a somewhat discreet manner, Lionsgate’s promotional strategy for the movie “Flight Risk” acknowledges its director as the acclaimed filmmaker behind “Braveheart,” “Apocalypto,” and “Hacksaw Ridge,” which is essentially referencing Mel Gibson. Regrettably, the issue with this film doesn’t stem from a lack of credit to Gibson, but rather his distinctive style as a director. Recalling those critically acclaimed films may set expectations excessively high for viewers before they experience this low-budget, poorly executed, uninspiring thriller.

Based on a script from rising talent Jared Rosenberg, who also collaborated with Gibson in “Father Stu,” Gibson enlists Mark Wahlberg to portray the antagonist in a nerve-wracking containment thriller. This film doesn’t require Oscar-winning acting skills; instead, it calls for a good understanding of the craft and a touch of finesse to keep viewers gripped. However, what we get is a rough, uninspired, suspense-less journey where the tension primarily lies in determining which of the three main characters will become the most dislikable by the end.

In this story, Michelle Dockery, known for her roles in “Downton Abbey” and “The Gentlemen,” portrays Madelyn Harris, a determined U.S. deputy marshal. Her mission is to escort Winston (Topher Grace), an informant hiding out in a secluded Alaskan town after turning fugitive, back to civilization. Interestingly, Winston never reveals his surname, not even in the press notes. Following a distressing encounter with a previous witness, Madelyn is determined to carry out her duties meticulously, disregarding Winston’s constant, irritating comments. However, when their transportation arrives, it turns out to be an old cargo plane with only three seats, flown by Daryl Booth (Wahlberg), whose rural accent, inquisitive nature, and blood-stained attire make Madelyn instantly uneasy due to his questionable demeanor.

In mid-flight, Madelyn and Winston uncover that Daryl isn’t as he appears, leading to a fight between the marshal and the man supposedly out to kill Winston. Madelyn manages to overpower him, locking “Daryl” in the plane’s cargo area, but shortly after, she realizes a more pressing issue than a dangerous passenger threatening their lives: how will they safely land the aircraft?

In an attempt to regain control of the situation, Madelyn seeks assistance from her supervisor, Van Sant (Leah Remini, offscreen), and enlists another marshal named Hasan (Monib Abhat) for help. Their goal is to get the plane back on track and eventually touch down safely. However, when she finds classified documents in Daryl’s pockets that reveal sensitive information about both Winston and herself, Madelyn becomes aware that a member within her own department is leaking intel to the crime lord Winston is supposed to testify against. With time running out before they reach the nearest runway, it falls on Madelyn to uncover the traitor among them.

Despite the fact that it’s unlikely Gibson would film Wahlberg, Dockery, and Grace in a real-life thriller under authentic conditions, one striking aspect of the movie is how fake everything appears, and this becomes noticeable even before the characters board the plane. The two initial shots, one depicting a snowy Alaskan hotel and another, their departure runway, come across as embarrassingly unrealistic. (I won’t delve into the moose that mysteriously appears in Winston’s hotel window.)

As a movie enthusiast, I’ve heard whispers that the filmmakers opted for The Volume, this advanced soundstage known for creating astonishingly realistic backdrops, to shoot the aerial scenes. However, it appears that Mel Gibson may be struggling to keep up with the technology’s complexities, resulting in an output less compelling than the hand-painted landscapes from his “Air America” era. To add salt to injury, he seems to have neglected defining, let alone delving into, the spatial layout within the cockpit. Consequently, every tracking shot or zoom feels more like a duty than a deliberate choice to capture the action effectively.

In simpler terms, it seems that the script given to Gibson and his actors was both overly detailed yet lacking in emotional depth. The characters of Madelyn, Winston, and Daryl appear as stereotypes rather than unique individuals, their background stories intertwined with repetitive jokes that fail to elicit laughter. This comedic approach to the script makes it seem like the actors are merely playing roles instead of truly embodying them. As a result, the few genuine emotional moments feel constrained and awkward, as if no one knew how to bring them to life effectively. It’s almost as if every character believes they’re a comedian, but their jokes fall flat, doing more harm than any of the weapons used in the movie. In essence, it could be said that most of the characters in this film are pretending to be comedians, and their unfunny material causes more damage than any physical conflict depicted throughout its duration.

As a passionate filmgoer, I must admit that the selection of Dockery for the role of Madelyn feels daringly unorthodox, yet it leaves me questioning whether she’s truly the right fit for this resilient U.S. marshal character. With so many talented actresses available who seem more suited to embody this bruised yet tenacious figure, Dockery appears to be stretching her abilities to convince viewers of her portrayal.

It’s plausible that stars like Cobie Smulders and Emily Van Camp were preoccupied with higher-profile projects or simply declined to work alongside Gibson, despite his somewhat restored reputation. But the script unfortunately fails to provide Dockery with a compelling reason for Madelyn to disregard Daryl’s presence time and again in situations where a swift scan would be enough to ensure safety.

Overall, I remain uncertain as to whether this casting choice is a stroke of genius or an instance of misjudgment. Only the final product will reveal whether Dockery rises to the challenge or if there’s room for improvement in her portrayal of Madelyn.

Mark Wahlberg appears to enjoy taking on the role of an exaggerated villain, a character type that action films largely abandoned post-1990s. However, this doesn’t necessarily translate into a compelling performance. His bald spot seems to be trying too hard, and it’s evident what it’s compensating for – convincing motivation. On the contrary, Grace has portrayed quick-thinking, timid characters so frequently that his casting likely seemed like a coup to the production team. Unfortunately, his talents are overwhelmed by the torrent of humor in the film.

If one feels that an artist’s personal life should significantly impact their work, there are numerous reasons for spectators to shy away from Mel Gibson’s latest creations. However, in the instance of “Flight Risk,” the primary reason is its lack of artistic merit – it offers no tension, style, or even basic skill in filmmaking. Lionsgate’s promotional efforts for “Flight Risk” might unintentionally benefit the movie by distancing it from Gibson’s name, which could boost its commercial success. On the other hand, it may be more advantageous for his professional growth that his name is disassociated with this film.

Read More

2025-01-24 02:16