Review: Flight

Robert Zemeckis’ return to live action features, when contextualized within his filmography, ironically demonstrates his fatal flaw as a director. Flight, a fluctuating-yet-gripping entertainment drama, stirred similar feelings as when I saw his more amiable family features of recent years. Flight is like the Law and Order of the cinema right now; despite being dressed up and seeking a mature, high-brow audience, it’s human-interest popcorn fair donning Oscar’s best suit. It’s great fun (albeit, I will continually stress sometimes),  boasts a phenomenal performance spotlight for the illustrious Denzel Washington, dazzling cinematography and effects, but little more than the draw of a well-scripted episode of Addiction. 

And you know what? I bought into it. Only my continual study of film detracted from me enjoying Flight because it’s the kind of movie people enjoy. Sure, it’s a bit exploitive when considered; a film centered around the recovery of an alcoholic pilot who undergoes a catastrophic crash. The subject material is fascinating, particularly for an audience who will never become engaged in the struggle of alcoholism. It gives a means to experience a horribly fascinating affliction without having to actually experience it- as awful a means to trivialize addiction, it’s fascinating. Zemeckis handles the material in an ethically questionable manner, sometimes injecting a bit too much bubbliness to a grim experience. Personally, I was a bit uncomfortable as audience members laughed at his cocaine abuse before flying the plane- sure, it was presented in a means to make us laugh, but is it appropriate? The film also vilifies Washington’s character a bit too much. We experience him more through the perspective of those he interacts with than his own struggle. Alcoholism, in Flight, is not necessarily presented like the disease it is but an obstacle, a demon that spotlights our shortcomings. Viewers should be forewarned, if they have a relationship to addiction or someone who has suffered addiction, go into Flight warily. 

But it does aptly point out that more educated members of society too seek their own form of a popcorn movie, and Flight is just that. Is it the caliber of work that said people deserve? Yes and no. When Flight is on key, it shines. John Goodman and underappreciated Kelly O’Reilly add humor and heart where the film is lacking. The crash sequence is enthralling, and the consequential recovery of Washington begs encouragement despite not loving his character. But the film sputters fairly regularly, particularly due to a bit of redundancy and no real plot development. The direction of the movie is evident from the second the film begins, and almost every sequence will induce déjà vu for audience members who have heard any story on addiction. The key to success with a good story of recovery is identification with the protagonist, which is a shaky truce here. There are moments where Washington’s character is likeable, particularly when he attempts to clean himself up, but we largely revere him as a selfish villain. 

Like all of Zemeckis’ post Forrest Gump features, Flight is an undeniable fun ride, but does it bear any consequence? It’s too soon to tell, but I doubt I will have any memory of this film by the time next year hits. It’s a well-constructed diversion that lacks any pivotal, lasting moments to relay to friends and family beyond Washington’s performance. And with the incredible current slate of films that are both entertaining and weighty, I can’t see much purpose to seeing Flight before it lands on DVD. (Worst pun ever.)

Grade: B-