Flight Risk: Mad Mel Approaches Descent
they need a script, not a pilot
From the filmmaker behind Braveheart, Passion of the Christ, and Apocalypto, comes Flight Risk. Hmmmmmm, I wonder who that could be. Originally slated for last fall, the film was ultimately pushed to January, the nadir of the release calendar. The notorious Mel Gibson has been relegated to utter drudge as his controversies and politics have forced him into an outcast despite directing Hacksaw Ridge nearly nine years ago. Effectively re-canceled, Gibson has not returned to the director’s seat until now, teaming up with his friend Mark Wahlberg. Flight Risk, a purely camp, thrill ride about an informant’s plane being hijacked by an assassin, is far from a return to prestige filmmaking for Gibson but a project that gives him a chance to work before pursuing bigger projects. Even so, does Flight Risk at least entertain? Or is it a crash landing waiting to happen?
What’s it all about?
Flight Risk centers around a U.S. Marshall Madelyin Harris (Michelle Dockery) tasked with escorting a government witness Winston (Topher Grace) to trial after being accused of embezzling money for mob boss Morretti. The two discover that the pilot flying them is a hitman named Daryl Booth (Mark Wahlberg), who is assigned to assassinate the informant before he can testify. The flight takes them to Anchorage, Alaska wherein Madelyn and Winston subdue Booth multiple times trying to land the flight and fight for their lives. The situation spirals out of control when they uncover deeper secrets, as forces within the government work from afar to eliminate them.
He who shall not be named
A lot will be made about Mel Gibson taking over the director’s chair after a prolonged absence. So, I thought I’d get it out of the way before we dive into the film. There’s a laundry list of accusations and controversies lobbed against Gibson from antisemitism, and homophobia, to even domestic abuse. Most of them stem from severe alcoholism and just outright bad behavior. But after a DUI arrest in 2011, Gibson went on an apology tour and slowly won favor with his colleagues, even getting nominated for Best Director at the 2017 Academy Awards. However, the tides soon changed once social media started digging up his past as Cancel Culture reared its ugly head. This banished Gibson back to crappy VOD films and away from the director’s chair. It doesn’t help that his politics have veered firmly right-wing even being named an ambassador to Hollywood in the current Trump administration (whatever the hell that means). All that said, Gibson is a talented filmmaker who concentrates on gruesome, well-executed action pictures that pack a punch, specializing in the classic Hollywood picture. Frankly, I believe it’s unjust to erase individuals entirely for past actions or political views, regardless of how much one might disagree with them. That’s why Lionsgate’s decision to omit Gibson’s name from the film’s marketing has irked me. A disheartening reflection of our collective intolerance. Anyhow, I wanted to address this upfront so I don’t have to mention it again. Now we can dive into the film.
The Good
The concept of a high-stakes thriller set aboard a moving airplane has all the makings of a gripping narrative. While there are a few genuinely entertaining moments, the film often gets bogged down by characters who repeatedly shift the narrative, piling on twists and revelations that detract from the action. But the few moments that shine are particularly bright. Gibson’s penchant for tightly-paced, hardcore action is at play. Sequences like the plane crashing through a mountain of snow, Booth breaking free with nothing but a hand knife, and Madelyn firing a flare gun at him deliver some of the film’s most exhilarating action moments. The editing keeps a very crisp rhythm as Gibson knows exactly when to ramp up the tension, using everything at his disposal to keep the audience at the edge of their seats despite the limited locale. Gibson’s direction demonstrates a clear understanding of visual storytelling, making the most of the confined airplane setting to craft sequences that feel both claustrophobic and explosive. The sharp sound design heightens the intensity, ensuring that even the most predictable beats carry weight.
The Bad
That’s about where it stops. Mark Wahlberg delivers an off-the-wall performance that, while energetic, feels entirely unbelievable and fails to find footing. His character remains largely incapacitated, sidelining him for most of the runtime apart from a few high-powered moments. The strangest element of Wahlberg’s character is how little we know about him. The film cares so little about why he’s there in the first place, focusing more time on Winston and Madelyn. I’m sure he has an interesting background that’s hinted at here and there, but Wahlberg’s lack of involvement relegates his role to an extended cameo. The supporting cast, seemingly aware of the film’s B-movie status, leans fully into exaggerated, corny portrayals that forgo any sense of genuine engagement or star quality. What should we expect from Topher Grace and Michelle Dockery? I mean nearly ninety percent of the line readings are extremely painful to watch. I hope Gibson saved file space by only permitting first takes. Confining the story entirely to the airplane—likely due to budget constraints—also strips the plot of opportunities to explore the various conspiracies and twists it throws at us. If the film left the airplane once in a while, it could have added layers to the narrative, possibly giving the performances more weight. Instead, the film devolves into characters talking over microphones and headphones, draining tension and visual dynamism. It doesn’t help that the voice actors who assist in guiding the plane or serve as Madelyn’s direct superiors might as well have been performed by A.I.: completely flat and unconvincing. The plot is equally uninspired, bypassing opportunities to infuse the film with even a hint of intellect. The sheer lack of ambition across the board is staggering, making it difficult for the audience to connect with the story or its characters.
It’s Mostly Ugly
Despite a few brilliant moments, the film doesn’t fully capitalize on its intriguing premise or star power. It feels like a half-baked effort better suited for the VOD platforms that Gibson’s acting gigs belong on. Flight Risk feels like more of an excuse for Gibson to get back in the saddle after nearly a decade than a cohesive project. Granted, the film knows it’s not shooting for the stars. So, there’s nothing offensively bad about it. However, much was left on the table. Even in its cheesiness, the film misses the mark by not fully embracing its potential for over-the-top absurdity, settling instead for the appearance of a generic Tubi thriller. But, in the age where films overstay their welcome, it’s hard to fault one that breezes by in 90 minutes. While largely subpar and unambitious, it offers fleeting excitement as I barely looked at my watch throughout. For those expecting high art from the film titled Flight Risk, I don’t know what to tell you. But still, if Gibson was expecting more work after this, he’s got an even longer road ahead.