NON-STOP: A TRE ANNI DI DISTANZA DA 'UNKNOWN-SENZA IDENTITA'' LIAM NEESON TORNA A LAVORARE CON IL REGISTA JAUME COLLET-SERRA
PREVIEW in ENGLISH by SCOTT FOUNDAS (www.variety.com) - USA: Dal 28 FEBBRAIO
(Non-Stop; REGNO UNITO/FRANCIA/USA 2014; Thriller; 106'; Produz.: Silver Pictures/StudioCanal in associazione con: Anton Capital Entertainment (ACE)/LOVEFiLM International/TF1 Films International)
Titolo in italiano: Non-Stop
Titolo in lingua originale:
Anno di produzione:
Anno di uscita:
Regia: Jaume Collet-Serra
John W. Richardson, Christopher Roach e Ryan Engle
Soggetto: Storia di John W. Richardson e Christopher Roach.
Cast: Liam Neeson (Bill Marks)
Julianne Moore (Jen Summers)
Anson Mount (Jack Hammond)
Michelle Dockery (Nancy)
Corey Stoll (Austin)
Lupita Nyong'o (Gwen)
Scoot McNairy (Tom Bowen)
Linus Roache (David McMillan)
Jon Abrahams (David Norton)
Omar Metwally (Dott. Fahim Nasir)
Shea Whigham (Agente Marenick)
Musica: John Ottman
Costumi: Catherine Marie Thomas
Scenografia: Alec Hammond
Fotografia: Flavio MartĂnez Labiano
Montaggio: Jim May
Effetti Speciali: Scott Forster e Jake Hays
Casting: Amanda Mackey Johnson e Cathy Sandrich
Scheda film aggiornata al:
19 Marzo 2014
Uno sceriffo aereo, Bill Marks (Liam Neeson), con numerosi problemi in passato, si trova in un aereo diretto a Londra. All' improvviso un individuo anonimo comincia a mandargli messaggi intimidatori, dicendogli che se non verserĂ 150 milioni di dollari ad un conto, ogni 20 minuti morirĂ una persona. Bill comincerĂ allora una caccia all'uomo, rischiando di essere preso per pazzo a causa dei suoi precedenti problemi, per salvare le vite sul velivolo.
An air marshal springs into action during a transatlantic flight after receiving a series of text messages that put his fellow passengers at risk unless the airline transfers $150 million into an off-shore account.
Bill Marks is a former cop who after dealing with his daughter's death by drinking, is now an air marshal. While on a flight from London to New York, Marks gets a text telling him that unless 150 million dollars is deposited to an off shore account within 20 minutes someone will die. He tries to tell the other air marshal, Hammond but Hammond doesn't believe him.
Commento critico (a cura di SCOTT FOUNDAS, www.variety.com)
ACTION STAR LIAM NEESON RETEAMS WITH 'UNKNOWN' DIRECTOR JAUME COLLET-SERRA FOR ANOTHER ROUND OF PSEUDO-HITCHCOCKIAN HIJINKS.
Continuing his prodigious run of duosyllabic, Euro-financed action movies, Liam Neeson is back with a gun in his hand and a weary grimace on his long Irish mug in âNon-Stop,â a sometimes inspired, mostly serviceable doomed-airliner thriller that reunites its star with âUnknownâ director Jaume Collet-Serra for another round of pseudo-Hitchcockian hijinks. Lacking anywhere near as clever as script this time, Neeson and Collet-Serra put this wronged-man programmer dutifully through its paces, with plenty of the gruff machismo and close-quarters grappling that have made the 61-year-old actor a late-career global action star. (Can an âExpendablesâ cameo be far in the future?) Turnstiles should click briskly for this Studiocanal/Joel Silver co-production, which opens overseas today, 48 hours ahead of its Stateside bow.
Itâs easy to imagine that âNon-Stopâ was pitched as ââUnknownâ on an airplane,â with Neeson
once again spending most of the running time trying to convince people that he is who he says he is â in this case, the federal air marshal trying to root out a hijacker, as opposed to being the hijacker himself. But the script, credited to tyro scribes John W. Richardson, Chris Roach and Ryan Engle, also bears more than a glancing resemblance to 2005âs âFlightplan,â in which Jodie Fosterâs grieving widow becomes convinced that someone has kidnapped her young daughter in the middle of a transatlantic jumbo-jet flight. There, Peter Sarsgaard was the seemingly benevolent air marshal who turned out to be a raging psycho intent on turning the plane into a giant WMD; here, someone who perhaps saw that movie is trying to frame Neesonâs Bill Marks to appear the same way.
When we first see Marks, sitting in his car outside JFK on a rainy, wintry day, the
bottle of Jim Beam in his hand tells us heâs a man with a troubled/tragic past that will inevitably come home to roost somewhere around the movieâs third act. Collet-Serra then plows through the other scene-setting details in similarly expedient fashion, introducing an âAirportâ-worthy cast of passengers that includes a frazzled businesswoman (Julianne Moore), a tough New York cop (Corey Stoll), a thirtysomething slacker dude (Scoot McNairy), a Muslim doctor (Omar Metwally) just waiting to be racially profiled, and the de rigueur unaccompanied minor. The only real surprise: not a priest or a nun anywhere in sight. By 10 minutes in, the movie is airborne, and by 15, Marks has received the first in a series of anonymous text messages (sent over the planeâs secure network) stating that someone on board will be killed every 20 minutes until $150 million is transferred into a designated bank account. In a sure
sign of our inflationary times, âFlightplanâsâ criminal mastermind only asked for a mere $50 million.
One of the consistent pleasures of airplane movies, at least for frequent flyers, lies in seeing the fictional airline names and logos dreamed up by movie production designers, along with the simulated aircraft themselves, their rows and aisles invariably enlarged to accommodate the cameraâs passage. (In the movies, every seat is an Economy Comfort seat.) Here, weâre on board a British Aqualantic 767 bound for Heathrow, and it comes equipped with a crew whose members, all too plausibly, initially dismiss the threatening messages as a hoax. (They include captain Linus Roache, co-pilot Jason Butler Harner, and flight attendants Michelle Dockery and Lupita Nyongâo, who has precious little to do in a role she clearly filmed before anyone had seen â12 Years a Slave.â) Then someone dies right on schedule, and itâs Marks who has their blood
on his hands. He also, it turns out, has his name on that aforementioned bank account.
From this point forward, viewers are best advised to make with their disbelief as one does with oversized cabin baggage: Check it at the door. The ultimate revelations about Neesonâs semi-amnesiac âUnknownâ character notwithstanding, we sense from the start of âNon-Stopâ that Marks is a good guy whoâs been set up, and for a while the film sustains a reasonably fun game of whodunit, as the body count rises and the hair-trigger Marks begins interrogating passengers with a bedside manner that makes âTakenâsâ Bryan Mills seem like Florence Nightingale. That even an air marshal could manage to get away with such behavior in an age when commercial airline passengers have bum-rushed and hog-tied flight disruptors for far less violent offenses stretches the movieâs already elastic sense of plausible reality to the breaking point more than
once. But even in the movieâs most ridiculous moments, Collet-Serra keeps the pacing brisk and knows how to divert our attention with a well-timed bit of comic relief. Sensing a potential passenger riot on his hands, Marks quells the fire by announcing that Aqualantic is offering everyone free international travel for a full year.
A protege of producer Joel Silver, the Spanish-born Collet-Serra (who already has a third Neeson pic, âRun All Night,â in the can for next February) is an able-bodied genre craftsman with a love of old-fashioned plot mechanics and an unusual generosity to actors, who are afforded more quiet, character-revealing moments in his movies than such fare typically allows. By its very design an exercise in claustrophobia, âNon-Stopâ eventually runs out of places to go, and builds to a big third-act reveal thatâs at once so ludicrous and heavy-handed that it sucks all the thrust out of the
movieâs jet engines. Itâs also the first of Collet-Serraâs movies in which so many good actors are put to such little use, including Moore, who like most of her fellow passengers is there mainly to arouse passing suspicion and get roughed up at Neesonâs hands.
But Neeson himself is a compelling presence throughout, even if weâve now seen him play this sort of lone man of action at least a half-dozen times. Typecasting isnât necessarily a liability if youâre an actor with Neesonâs knack for sauntering through a scene as though his body were weighing heavily on his shoulders, and woe be to all who obstruct his path. Itâs been widely noted how âunlikelyâ it is for the âSchindlerâs Listâ Oscar nominee to have been reborn, close to retirement age, as a latter-day Charles Bronson or Clint Eastwood. But itâs age, weariness and disappointment that are precisely Neesonâs greatest virtues. As
he kicks butt onscreen, he seems a man hardened by real experience, not by hours spent in the gym.
Reunited with most of his âUnknownâ crew, Collet-Serra delivers a technically proficient package, aided by the moody cabin lighting of d.p. Flavio Labiano and a bassy, propulsive John Ottman score.
• FORZE SPECIALI - DENTRO LE LINEE NEMICHE - INTERVISTA al regista e sceneggiatore STĂPHANE RYBOJAD (Interviste)
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