Plane: A Thrilling But Generic Action Ride

The storm-tossed sky in the opening shot of Plane (2023) crackles with electricity, a visual promise of the tension and chaos to come. Directed by Jean-François Richet, this action thriller stars Gerard Butler as Brodie Torrance, a commercial airline pilot who must navigate not just the turbulent skies but also the deadly politics of a war zone after a forced landing. The film’s premise is inherently gripping, but Plane struggles to rise above its generic foundation.

Richet, known for his work on the gritty biopic Mesrine, brings a certain unpolished realism to the action sequences, particularly in the plane’s crash landing and the ensuing firefights. The cinematography by John Schwartzman captures the claustrophobic tension of the war zone, using tight framings and dynamic camera movements to immerse the audience in the chaos. Marco Beltrami’s score, with its pulsating rhythms and tense undercurrents, complements the action beautifully, creating a sense of urgency that is often missing from the film’s narrative.

However, where Plane falters is in its storytelling. The screenplay by Charles Cumming and J.P. Davis feels like it was assembled from a checklist of action-movie tropes rather than crafted with any real originality. Brodie Torrance is a classic example of the “gruff but heroic” protagonist, a character type that has been done to death in countless other films. Butler brings his usual charisma and physicality to the role, but there’s little depth to Torrance beyond his determination to save his passengers.

Butler’s performance is serviceable, but it lacks the nuance and complexity that could have elevated the character above the standard action hero fare. His gruff exterior and no-nonsense attitude are familiar territory for Butler, who has played similar roles in films like Angel Has Fallen and Greenland. While Butler’s presence adds a certain level of entertainment value, it does little to mask the film’s narrative shortcomings.

The supporting cast fares slightly better, with Mike Colter as Louis Gaspare, one of the militiamen, adding a touch of complexity to his character. Colter’s performance is nuanced, but he’s let down by some clunky dialogue and underdeveloped motivations. Tony Goldwyn as Scarsdale and Daniella Pineda as Bonnie Lane are given little to work with, reducing their characters to mere cogs in the machine of the plot.

One of the film’s few redeeming qualities is its pacing during the action sequences. Richet stages these set pieces with a sense of urgency and immediacy that keeps the audience on the edge of their seats. The sound design is particularly effective, using the cacophony of gunfire, explosions, and screaming engines to create an immersive atmosphere. However, these moments are too infrequent, and the film spends far too much time on exposition and setup.

The film’s biggest sin is its predictability. From the first act, it’s clear where the story is headed, and none of the twists or turns feel earned. The pacing is uneven, with long stretches of dialogue-heavy scenes that drag down the momentum. Even the climax, which should be a white-knuckle showdown, feels rote and uninspired.

Plane is a film that knows what it wants to be—a tense, action-packed thriller—but it lacks the originality and depth to stand out in a crowded genre. It’s a serviceable popcorn flick, but one that fails to leave a lasting impression. The film’s target audience is clearly fans of Gerard Butler’s previous action vehicles like Angel Has Fallen and Greenland, as well as those who enjoy straightforward, no-frills thrillers.

The film’s themes are equally uninspired. At its core, Plane is a story about survival and heroism, but it doesn’t delve deeply into either concept. The war zone setting provides an opportunity for exploration of political and social issues, but the film largely ignores these possibilities in favor of straightforward action.

Comparisons to other films in the genre are inevitable. Plane shares similarities with Non-Stop (2014), another action thriller about a plane under siege. However, Non-Stop benefits from a stronger script and more developed characters, making it a more compelling watch. Plane also bears a resemblance to The Commuter (2018), another Butler-led action film that suffers from similar narrative shortcomings.

In the end, Plane is a missed opportunity. With a stronger script and more developed characters, it could have been something special. The film’s target audience is clearly fans of Gerard Butler’s previous action vehicles like Angel Has Fallen and Greenland, as well as those who enjoy straightforward, no-frills thrillers.

The film’s production design is functional but unremarkable. The war zone setting is depicted with a certain level of authenticity, but it lacks the visual flair that could have elevated the film above its peers. The costumes are equally uninspired, with the characters dressed in generic military and civilian attire.

Plane is not without its moments of excitement. The action sequences are well-staged and the sound design is effective, creating a sense of immersion that is often lacking in other films in the genre. However, these moments are too infrequent to sustain the film’s momentum, and the narrative shortcomings ultimately weigh it down.

The film’s ending is equally unsatisfying. After a long buildup of tension and action, the climax feels rushed and unearned. The resolution of the conflict between Torrance and the militiamen is predictable and lacks the emotional weight that could have made it more impactful.

In conclusion, Plane is a forgettable entry in the action thriller genre. While it has its moments of excitement, the film ultimately suffers from predictable storytelling, underdeveloped characters, and a lack of originality.