With Jodie Foster and a few bad actors, you get Flightplan: boring plotline, lack of humour, and an overall mishap in the history of movie making. Jodie drives the audience nuts, as she tries to desperately find her child, who's missing on a plane. Not only is she a little too worried, but comes off as being really annoying. Even throwing a weird twist didn't make the movie better. Instead, it was like a clone of The Village (movie with false advertising and was more disappointing than the 50 second trailer). The only positive side to the movie was that they used Sean Bean as the captain of the flight. Very genius, no Boromir indeed, but still impressive. In conclusion, I totally recommend you DO NOT see this movie.… Expand

Awfully implausible.

If this did not have Jodie Foster you would fall asleep or walk out. BTW what airline has $50M these days?

Great to see Jodie Foster, but not in such an implausible whip of a movie. The serious tone of the film's first section belies a plot that panders to stereotypes (of Arabs in particular) and a consipiracy so fantastically ridiculous, a Steven Segall or Jan-Claude Van Damme movie would be loathe to use it. Go see Red Eye, which was at least fun.

Enter a contestant for the Hollywood hall of Turkeys. Totally abject and brainless, what a waste of time and money. AVOID!

If Jodie Foster is only going to treat us to a film performance every three years or so, she'd be better advised to join forces with Robert DeNiro for Taxi Driver: 30 Years Later, in which Travis Bickle and Iris reunite and join forces to blast away panhandlers, jaywalkers and other vermin infesting the streets of Rudolph Giuliani's Disneyfied New York than to do anything like this laughably contrived, ridiculously ineffective Panic Room In The Sky. She plays a distraught mom transporting her recently deceased husband's body from Germany to the U.S.; things get complicated when she loses her little daughter on the flight and even more so when questions arise among the crew and other passengers as to whether the child ever existed in the first place. Much justifiable complaining has already been done about the film's final act, and I won't divulge any of it for you--not because it's not nice to print spoilers, but because there's more than enough, uh, love to spread around to cover this movie's ENTIRE 93 minutes!! For starters, setting the action on a superjet half the size of Delaware is comletely nonconducive to suspense; the people who made the 1952 cop-on-a-train thriller The Narrow Margin, the original Speed, and the current Red Eye were all intensely aware of a simple but necessary component in transportation-based thrillers that Flightplan is obviously, completely unaware of: claustrophobia. (Put it this way: spending half the movie's running time thinking about what the Zucker Brothers could've done with the Ponderosa-sized set doesn't exactly whiten my knuckles.) The flight crew and personnel are, to a one, depicted as so thoroughly insensitive to Foster's situation that I'm surprised that more flight attendants aren't picketing theaters showing this movie for defamation of character than conservative Christians protested The Last Temptation Of Christ back in 1988! For that matter, of the 400-plus passengers, isn't it within the realm of possibility that at least a few of them (especially the other parents on board) would treat Foster with some compassion and consideration rather than responding to the admittedly unique circumstances with complete selfishness and heartlessness--even if their plans WERE being disrupted? (Don't get me started on Flightplan's shoddy and offensive exploitation of post 9/11 fears of Arab passengers.) The movie's use of astonishingly unbellievable coincidences not only breaks several simple dramatic laws but invents new ones to mercilessly stomp on; in Speed, having Sandra Bullock ride the bus because she had her license revoked, making her the perfect candidate to keep the bus going over 50 mph was a believable and pleasing piece of serendipity; having Foster be this plane's architect and therefore know every place to look is contrived beyond forgiveness. (Or, as Saturday Night Live's Church Lady would've said, "How con-VEEEEE-nient!") You can't fault Foster's very effectively tense performance at all (the fact that she fights like a girl notwithstanding) except that it's utterly wasted in the service of such disgracefully substandard material: watching her here is like seeing a world-class concert violinist performing in a Chuck E. Cheese's. On the other hand, Peter Sarsgaard, normally a terrific actor (Kinsey, Garden State, Shattered Glass) is currently the leading candidate for2005's Nails-On-The-Blackboard award for his surprisingly irritating impersonation of an alternately sympathetic and suspicious air marshal, and would someone please remove the Scotch tape from his eyelids? Of course, the possibility exists that I'm completely misreading this movie, and perhaps everything that's wrong with it should be interpreted as a microcosm for all the troubles that the airline industry has faced in the last few years. If that's the case, perhaps the same advice applies to spending good money on first-class flights AND an evening centered around Flightplan: Fly coach instead.… Expand

A poorlty conceived and poorly executed movie. It simply has no point. It makes the case that it is ok to endanger an airliner in flight in the search for a missing child. It promotes self-indulgent and paranoid concepts as being justified by these type circumstances. Most of all, the acting was flat by all in this film including Jodie Foster who comes off as another supermom dealing with just another set of contrived circumstances.… Expand

Great cinematography, well designed, and well acted. However, the story unfolds to a terribly generic and cheap climax. It really destroys everything the movie had built up. The ending reminds me of how cheated I felt coming out of the village.

Tepid and proposterous thriller about a mother whose child goes missing aboard an intercontinental flight. A potentially intriguing "Lady Vanishes" type premise is mangled by outrageous storyline. Visuallly flashy but utterly lacking in tension or suspense. The always-enjoyable Jodie Foster, plays a mother, trapped in a Kafka-esque situation, her sanity questioned as she tries to convince a skeptical captain and crew that her child has somehow been snatched aboard the plane. Sadly, Foster 'is given little to do except look angst-ridden throughout her ordeal; Peter Sarsgaard is horribly miscast as an air marshall though Sean Bean is effective as the captain of the high tech airliner. Don't wasate your money.… Expand

All during the movie all i could think about was how much this movie was soo like Panic Room. The acting is good... well too good for the movie, the set is good also. However, the reason why the movie was soo bad was because of the script. The movie leaps form one idea that Jodie Fosters character is crazy to the idea that her daughter is on the plane. And whoever saw the trailer know that she really has a daughter on the plane. Also the movie just ends. If there writers had changed the story line and made the ending more belivable the movie would of totally rocked. However that is not the case here.… Expand

Ridiculous. The whole audience groaned at the ending, especially as it wrapped up an storyline that insults an audience intellegence. Foster's role is one-note, but damn can that girl well up. Nobody can do that about-to-cry-a-river face better than she.

Unbelievably bad. Foster looks like a Halloween mask. Poor Peter Saarsgard's Bill Murray low energy style, perfect in Shattered Glass, is screechingly out of place here. What an ego trip for a woman who wants to bring her psychology to her work. Vey bad movie.

Has anyone ever noticed The Baltimore Sun never has any idea what they're talking about with every movie they review? At any rate, this film has so many loose ends I began shopping for end tables. At least 30% of the movie doesn't make sense by the end and in an attempt to be a thriller it assumes the general public will just forget that it decides not to tie pieces together. I'm disappointed that Foster makes absolutely no judgment calls with scripts anymore. She might be middle-aged but have some pride girl!… Expand

The "payoff" to this thriller is simply not believable. The plot holes are big enough to drive an SUV through, and the supporting cast is entirely wasted in this movie. Even Foster's performance is only mediocre. A huge disappointment.

FlightPlan demonstrates that you can make a movie with quality acting, suberb sounds effects and absolutely no plot. The plot requires the viewer to suspend logic for the entire movie.

There are SOOO many holes in the plot, the suspense is no enough to offset that.

The plot is absurb at best however the acting is excellent all around and that saves it from being truely horrible.

This movie was ruined by the lame ending. It was a good plan with the U.S. Flight Marshall hi-jacking the plane, but to have him get out smarted like that. Not much to say about it... It was a pretty lame movie, but had the potential to be a big hit. did the director watch the movie before releasing it? Why didn't they change such a stupid ending?