Non-Stop ★

    There is a universally recognized consensus that films whose central thematic concern is plot should only be enjoyed for their escapist mentality and tense excitement. However, it should not excuse the fact that films of this caliber should at least be constructed with a compelling storyline and built to pervade an ambiance of suspense.

    "Non-Stop" is a 2014 action film that does little to fabricate a convincing story and hinges on the star power of an aging lead actor in Liam Neeson--a man who has climbed the ladder of action film stars and has impressed audiences with his performances in the "Taken" series of films. Although Neeson is arguably one of the greatest actors of his era and has undoubtedly portrayed the most iconic character in film history (that being Oscar Schindler), his performance here cannot provide the adhesive that would ultimately fill the void in this banal picture.

    Bill Marks is a U.S. Air Marshal whose life seems to be at a standstill. He has taken up the infamous art of drinking and is essentially a shell of his former self. Once assigned to a nonstop flight from New York to London, Bill is under the impression that he can sit back and down a few drinks with no interruption.

    This all changes, however, when he is sent alarming text messages on the secure line of his cellular phone. With threats to kill a passenger every twenty minutes until an absurd amount of money is transferred into a bank account, Marks is thrown into a world of confusion and dismay as he attempts to reveal the identity of this devious individual and protect the innocent lives found on this flight.

    The underlying blueprint of this particular picture is eerily similar to that of "Flightplan,", which also sees a renown actress confined to the space of a commercial flight. Bill Marks is at odds, not only with his blackmailer, but with the surrounding passengers, as they question his sanity among other things. It will take his tactical instincts and help from a female passenger to overcome this disastrous circumstance and clear his name from defamation.

    There are shades of potential in this film, otherwise doomed by a mediocre script and poor execution of plot devices. (I never thought I would see the day when text messages were displayed boldly across the screen to spur plot development.) A notion of just how far technology has become an integral, if not controlling, aspect of our lives.

    If there is one thing this film attempts to succeed in, it would be the uncertainty created by the simple use of the camera to focus on specific individuals. Thus, an effect that will baffle the audience from discerning the true identity of our antagonist. An effect that is utterly compromised, like many films have done so heedlessly before, when the character is shown in an unnecessary scene in the expository acts of the film. Within five minutes, any experienced filmgoer (or anyone who has ever viewed an episode of  "Scooby Doo") should have an idea of this secreted identity, even if doubt ensues inevitably.

    This all leads to a conclusion of illogical proportions, as the events of September 11, 2001 and flight security are used as motivation for the conflict. Considering the outcome, this antagonist's statement was seemingly all for naught. There are notable appearances by Julianne Moore and Lupita Nyong'o. Moore, an aging actress whose star power has all but dwindled, plays Jen Summers. Moore's character is nothing more than an underdeveloped love interest for Bill Marks and a plot device for downtempo periods. Nyong'o, a young and talented actress fresh off a brilliant performance in "12 Years a Slave," has quite a forgettable performance, as her minuscule dialogue and presence is virtually nonexistent.

    When will Hollywood forgo these attempts to pit a solitary star in a confined space, usually 30,000 feet above the ground, and call it an action film?

    To say that this film released at a time of year when audiences wanted to see vacuous entertainment would be blasphemous to the integrity of the medium of film. Some of the highest grossing movies of all time are nothing short of some of the worst films ever made. There should never be an ideal time to see pictures of this magnitude. Which leads to the notion that it's not about what audiences want  to view, but what they need  to view. Nevertheless, individuals should want to see a quality film, which "Non-Stop" simply isn't.