By Brett Blake NON-STOP is the sort of film that could have turned out any number of ways: a mind-numbing bore, a grim slog, a cliche-ridden potboiler… Thankfully, it’s none of those things, and though most would probably admit that it’s got its fair share of ridiculousness, its ultimately a completely entertaining entry in the subgenre of films set aboard airplanes. It’s a classic subgenre, with movies ranging from the AIRPORT series of the 1970s, to AIR FORCE ONE of the 1990s, and more recent films like RED EYE and FLIGHTPLAN. NON-STOP is in the upper tier of such movies, which may or may not sound like I'm damning it with faint praise, depending on your personal taste. In NON-STOP, Liam Neeson plays a man with a very particular set of skills. Wait... sorry, that's actually his character from TAKEN. I got confused for a second, there. Here, he's playing an emotionally troubled U.S. Air Marshal. We know he’s emotionally troubled because he drinks a lot, broods, and sneaks into airplane lavatories to smoke cigarettes. On a red-eye flight to London, a sinister, unseen mastermind begins playing games with Neeson, games which eventually explode into a full-on crisis situation. Bodies pile up, tensions rise, and only one man can handle the situation - Neeson! Now, I’ll admit, I deliberately made the movie sound pretty cheesy in that description, but I think it’s a good representation of the film itself. It takes itself just seriously enough to generate some legitimate tension, but it also embraces the somewhat silly nature of the events that unfold. The script does a surprisingly great job of setting-up red herrings and potential solutions to the central mystery, and while the ultimate resolution of that mystery is - to be honest - a little half-baked and goofy, it works because the movie seems to know exactly what it is - a solidly-made B-movie with a fine cast and strong direction. This could have easily been schlock (some might say it still is), but director Jaume Collet-Serra does a fine job of pitching the more absurd elements at just the right tone. He also manages to keep the film visually interesting at all times; despite being set entirely onboard an airplane, the setting never becomes boring, and Collet-Serra uses seemingly every inch of the plane to full effect. The staging of a couple of fight scenes in close-quarters are particularly effective. As the lead, Neeson’s in fine, professional form. His new-found niche as an action star has been well-covered elsewhere, so I won’t dwell on it here, except to say that the conviction he brings to this kind of role makes him extremely watchable, and the kind of presence the audience naturally wants to root for. He’s not doing anything groundbreaking or Oscar-worthy in NON-STOP (see the recent THE GREY for just such an Oscar-worthy performance), but he’s a compelling figure amidst the hijinks (and hijacks) that unfold. He’s joined by an aces supporting cast; Julianne Moore is the biggest “name” in the lineup, but you’ve also got great up-and-coming character actors like Corey Stoll, Scoot McNairy, Michelle Dockery, and newly-minted Oscar nominee (for 12 YEARS A SLAVE) Lupita Nyong’o rounding out the passenger manifest. Each treats the material seriously, and none act as though they’re “above” this sort of film. Moore, in particular, seems to be having a pretty fun time as Neeson’s ostensible sidekick. Technically, the film rises above its B-grade station; it’s a very slick production, featuring moody cinematography (you might not think the cabin of an airplane would be the most interesting location in terms of light and color, but this film makes a strong argument that it’s possible), as well as an effective sound mix that nicely heightens the tension at some key moments of the story. The production design is also interesting, as the set is clearly convincing as being a real plane, and yet it conforms to the demands of the filmmaking process in an unobtrusive way. I suppose that’s just a long-winded way of saying the airplane set is clearly larger than its real-world counterpart would be, but not in such a way that screams “THIS IS A MOVIE SET!” In the final analysis, NON-STOP is much better than it probably should have been. It’s a solid, fun little thriller with a strong lead performance. It’s not high art, but I had a great time with it, and fans of Liam Neeson’s action-type films should find much to enjoy.
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