Universal Pictures via Everett Collection
Seventeen years ago, Harrison Ford grumbled four simple words that defined a genre, a demographic, and a country: "Get off my plane." In a pre-9/11 world, there was no shortage of jingoistic glee in a movie like Air Force One, in which a man's man American president doled out justice to a militia of Russian loyalist terrorists who made the silly mistake of attempting to hijack his flight home from Moscow. In 2014, we don't have the luxury of facing a plotline like this with reckless merriment. There's a damp gravity to the premise behind movies like Non-Stop, which in another time would have been nothing more than Taken on a Plane. But rigidly conscious of the connotations that attach to a story about a hijacking of a civilian international flight into John F. Kennedy Airport in New York City, Non-Stop doesn't play too fast and loose. It still plays, and has some good fun doing so, but carefully.
From the getgo, we're anchored into the grim narrative of Liam Neeson's U.S. Air Marshall Bill Marks, who settles his demons with a healthy spoonful of whiskey. A dutiful officer even when liquored up, Marks eyeballs every nameless face in London's Heathrow Airport, silently introducing the bevvy of characters who'll come into play later on. After takeoff, Marks finds himself on the unwitting prowl for the anonymous party who's attempting to take down the red-eye through a series of manipulative text messages, well-timed threats, and clandestine killings. Chatty passenger Julianne Moore and flight attendant Michelle Dockery join Marks in his efforts to identify the mysterious criminal before the entire aircraft falls to his or her whims. So less Taken, more Murder, She Wrote.
Our roundup of suspects challenges our (and their) preconceived notions, and quite laughably — most vocal among Neeson's fellow passengers are a white beta-male school teacher (Scoot McNairy), a black computer engineer with an attitude of entitlement (Nate Parker), a softspoken Middle Eastern surgeon whose headwear gets more than a few focal shots (Omar Metwally), a middle-aged white businessman whose latest account landed him more than your house is worth (Frank Deal), an irate black youngster draped in irreverence (Corey Hawkins), and a white, bald, machismo-howling New York cop who secretly accepts his gay brother (Corey Stoll). Just a few talking heads short of Do the Right Thing, Non-Stop manages to goof on each man's (notice that they're all men — Moore, Dockery, and a barely-in-the-movie Lupita Nyong’o are kept shy of the action for most of the film) distaste for and distrust of one another as they each try to sidle up to, or undermine the harried Marks.
Non-Stop plays an interesting game with its characters and its audience, simultaneously painting the ignorance of its characters with a thick coat of comedy while pointing its finger straight out at us with accusations that we, too, thought it was whoever we just learned it wasn't, and for all the wrong reasons. "Shame on you!" Non-Stop chides, adding, "But let's keep going, this is fun!"
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It is fun — that's the miraculous thing. Without any "Get off my plane"s or "Yippee ki yay"s, Non-Stop keeps its action genre silliness in check (okay, there is a moment involving an airborne gun that'll institute some serious laugh-cheers), investing all of its good time in the game of claustrophobic Clue that we can't help but enjoy. It sacrifices some of its charm in a heavy-handed third act, tipping to one side of what was a pretty impressive balancing act up until that point. But its falter is not one that drags down the movie entirely. Fun and excitement are restored, sincerity is maintained, and even a few moments of sensitivity creep their way through. We might not live in a world of President Harrison Fords any longer, but Air Marshall Liam Neesons could actually be a step up.
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In keeping with this week's American Film Market theme, following is a rundown of deals and announcements to hit over the past day.
Notably, Wild Bunch has boarded Nick Cassavetes' Yellow, which had previously encountered some financial woes. With a private American equity partner now in place, the film is set to start shooting again in December. Wild Bunch is handling international sales.
In a rather poignant twist, Cassavetes' wife, Heather Wahlquist, stars in the film, which could be described as a sort of lighter version of A Woman Under the Influence -- in which Cassavetes' mother, Gena Rowlands, starred for his father, John Cassavetes.
The cast also includes Sienna Miller, Melanie Griffith, Luke Wilson and Ben Foster.
Sony Pictures Worldwide Acquisitions has acquired domestic rights to The River Sorrow, as part of a deal that also saw the company pick up rights for the UK, Australia, New Zealand and South Africa, says The Hollywood Reporter.
The Rich Cowan film stars Ray Liotta, Ving Rhames, Christian Slater, Giselle Fraga, Raymond Barry, Sarah Ann Schultz and Melora Walters.
As expected, Chris Rock has beenconfirmed as the lead opposite Julie Delpy in her directorial follow up to 2 Days in Paris. 2 Days in New York is being sold by Rezo Films.
According to Screen, the film now finds Paris heroine Marion in New York with her child and a new guy. Rock plays the new boyfriend, a radio host and journalist whose life will be upended by a two-day visit from Marion's French family.
Also per Screen, WestEnd Films will handle international rights on The Devil and the Deep Blue Sea. Justin Timberlake is scoring and supervising music for the film, which stars Zach Braff, Jessica Biel and Chloe Moretz.
Bill Purple directs the story of Henry, whose world is turned upside down when his wife is killed in a tragic accident. In an attempt to overcome his grief, Henry befriends a young homeless girl and helps her accomplish her dream of building a raft to cross the Atlantic to find her long-lost father.
Principal photography starts in April 2011.
Christophe Honore is back with a film starring Catherine Deneuve, Chiara Mastroianni, Ludivine Sagnier, Louis Garrel, Milos Forman and Paul Schneider. Les Biens-Aimees, which Screen describes as a Jacques Demy-style musical drama, is being sold internationally by Celluloid Dreams.
Lucy Walker's hot doc Countdown to Zero has sold to Paramount Pictures for Japan, says The Hollywood Reporter. The Works International is repping the Lawrence Bender produced film which premiered at Sundance and had a screening in Cannes.
Korea's CJ Entertainment has sold US rights to The Man from Nowhere to Well Go USA, Screen further reports.
IFC Midnight has taken US rights to psychological thriller Choose. SC Films is repping the film internationally. IFC Midnight plans a theatrical release in 2011 for the Marcus Graves genre film Screen says is in the vein of Seven and The Silence of the Lambs.
Magnet Releasing, the genre arm of Magnolia Pictures, has picked up US rights to Thai action movie BKO: Bangkok Knockout, adds THR.
The film is directed by Panna Rittkrai and centers on a group of friends who have to fight for their lives with one of their own is kidnapped.
Finally, Deadline reports that Myriad Pictures has acquired offshore rights to the Vivi Friedman-directed comedy The Family Tree. Pic stars Hope Davis, Dermot Mulroney, Selma Blair, Christina Hendricks, Max Thieriot, Jane Seymour, Rachael Leigh Cook and Bow Wow. Davis plays a restless housewife who bumps her head during an illicit encounter with her next-door neighbor and loses her memory. Myriad is shopping at the AFM. IP Advisors is brokering North American rights.
Source: Hollywood Wiretap