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A ministry of the ChildCare Action Project: Christian Analysis of American Culture (CAP Ministry) A 501(c)(3) Nonprofit Christian Ministry. www.capalert.com/ Entertainment Media Analysis Report A service to His little ones through you in His name by His Word MAR25071  (2005), PG-13 [PG-13*] (1hr 30min) The #1 Christian entertainment media analysis service on the Internet. We give you OBJECTIVE tools NO ONE ELSE CAN to help YOU make an informed decision for yourself whether a film is fit for your family. Over 1000 analyses for parents, grandparents, pastors, youth leaders and more. |
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(This section may be and sometimes is somewhat subjective.)
 Cast/Crew Details Courtesy Internet Movie Database Production (US): Touchstone Pictures, Imagine Entertainment Distribution (US): Buena Vista Pictures Director(s): Robert Schwentke Producer(s): Robert DiNozzi, Brian Grazer, Charles J.D. Schlisse Written by: Peter A. Dowling, Billy Ray Cinematography/Camera: Florian Ballhaus Music: James Horner Film Editing: Thom Noble Casting: Deborah Aquila, Mary Tricia Wood, Tricia Woods Production Design: Alec Hammond Art Direction: Kevin Ishioka, Sebastian T. Krawinkel Viewed At: Driftwood Theater 6 Because of the amount of violence and foul language in Flight Plan, including God's name in vain both with and without the four letter expletive, this film earned a score befitting its PG-13 MPAA rating. But just barely. The final score of 65 is just two points below the upper threshold of the scoring range for PG-13 movies (55 to 67 out of 100) in the comparative baseline database, just three points under the bottom of the scoring range for PG movies (68 to 86 out of 100). After the death of her husband, David Pratt (John Benjamin Hickey) in Berlin, Kyle (Jodie Foster) and their 6 year old daughter, Julia (Marlene Lawston) hop aboard a jumbo jet for New York. The jet is jumbo in every sense of the word. Two decks. Nine lavatories. Lounges. And more. Kyle and Julia arrive on board before all others and seat themselves in row 26. Julia is in seat A, next to the window. Kyle's seat is B and C is unoccupied. There, Julia opens a little to her mother about her fears and depression about her father's death. Kyle ambiguously explains that Julia's father will meet them in New York. Julia speaks of love for her father and draws a heart in the mist on the plane window. The heart Julia drew becomes evidence later in the show, evidence for Kyle. Though little Julie knew her father died, little did she know that her father lie in a casket under her feet in the cargo hold of the belly of the plane. Soon, in a moment of submission, Kyle gives in to sleep with Julia sleeping beside her. With her teddy bear. Torment and consuming fear quickly wash over Kyle when she wakes to discover Julia is no longer in her seat. In a performance befitting the high wattage talent of Foster, Kyle begins an excursion of exponentially increasing fret for her missing daughter. After searching the passenger area, both decks, in spite of the arguments of the crew Kyle demands to see the Captain (Sean Bean - Don't Say a Word, The Island, National Treasure). Convincing the Captain by quoting regulation -- Kyle is a propulsion engineer who built the plane and knows its layout -- a search by the crew of all seats, bins and lavatories of all decks ensues. But no Julia is found. Kyle is told repeatedly that none of the crew remember Julia ever coming on board. Not willing to give up and knowing the plane layout better than the crew, Kyle demands a search of any space a 6 year old child could fit, even the cargo hold and avionics. Submitting to Kyle's maternal fire, the Captain orders such a search to augment the initial search. Again, nothing of Julie is found. Here, the writers insert one of the first indications of the plot secrets. Two crew members were portrayed as having some sort of personal interest in each other during the search of the secluded avionics area, suggesting an incomplete search in that area. An intentional incomplete search. If Julia's boarding pass ever existed, it is missing. The manifest lists no 6 year old Julia as a passenger. Seat 26 A is listed as unoccupied. Suspicions of Kyle suffering hysterical delusion under the pressure of her husband's death and the future she must now face become solid: suspicions that she refused to accept Julia was dead and manufactured the situation to ease her pain if only for a short while. Now, as far as the crew is concerned, there is no Julia. In an effort to calm Kyle's delusion and anxiety, the Captain contacted the funeral director of the funeral home that brought David's body to the plane. The funeral director told the Captain that little Julia died with her father in the fall. Two stand-out flight attendants, Fiona (Erika Christensen) and Stephanie (Kate Beaham) do their best to calm the growing hysteria Kyle suffers whose ferocity is not matched by military assault warriors. Soon, Kyle's hysteria becomes so disruptive to the flight of 425 passengers that the air marshal, Carson (Peter Sarsgaard) becomes a fulltime attachment to Kyle. Plot and script detail in making little Julia disappear, or appear to have never been present, was fine-tuned as if anticipating the most grueling questions of the viewer. Attention to prop detail was intricate. The viewer is given a thorough tour of the inner workings of the huge plane. An example of the complexity of the attention to plot detail was having Foster's character ask that if Julia was killed with her father where was her casket? Why was it not with her father's casket since both were processed at the same funeral home? One over-the-top item in the plot was that the airline was able to deposit $50,000,000 in a foreign bank in just a few minutes. The fingers of the plot are far reaching. This is not a check-your-brain-at-the-door film. Nor is it one to feel family-safe about. Violence and the inherent criminal nature of it, portrayed on a personal level on so many levels, is invasive. Language, though considerably less severe than most PG-13 films, is not gracious [Prov. 22:11]. Sexually immoral behaviors are limited to innuendo and rude gazing with suggestive comments. [Eph. 5:4] Drugs and/or alcohol are limited to showing booze in the aircraft lounge and the implied drugging of little Julia to facilitate her abduction. God is offended by the performers who use His name in vain. [Deut. 5:11] There is one portrayal of murder which was initially presented as a suicide. [Exod. 20:13] The listing in the Findings/Scoring section will reveal the details of the content of this film you might find applicable to your concerns regarding its fitness for your family. SCRIPTURAL APPLICATION(S) If needed to focus or fortify, applicable text is underlined or bracketed [ ] or bold. If you wish to have full context available, the Blue Letter Bible is a convenient source. If you use the Blue Letter Bible, a new window will open. Close it to return here or use "Window" in your browser's menu bar to alternate between the CAP page and the Blue Letter Bible page. CHAPTER/VERSE ***Selected Scriptures of Armour against the influence of the entertainment industry*** As always, it is best to refer to the Findings/Scoring section -- the heart of the CAP analysis model -- for the most complete assessment possible of this movie. |
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(The objective heart of the CAP Analysis Model, independent of and insulated from the Summary/ Commentary section.)  Wanton Violence/Crime (W) Impudence/Hate (I) Sexual Immorality (S) Drugs/Alcohol (D): Offense to God (O) Murder/Suicide (M) |
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| There are some in the entertainment industry who maintain that 1) violent programming is harmless because no studies exist that prove a connection between violent entertainment and aggressive behavior in children, and 2) young people know that television, movies, and video games are simply fantasy. Unfortunately, they are wrong on both accounts." And "Viewing violence may lead to real life violence." I applaud these associations for fortifying 1 Cor. 15:33. Read the rest of the story. From our more than eight years of study, I contend that other aberrant behaviors, attitudes, and expressions can be inserted in place of "violence" in that statement. Our Director - Child Psychology Support, a licensed psychologist and certified school psychologist concurs. For example, "Viewing arrogance against fair authority may lead to your kids defying you in real life." Or "Viewing sex may lead to sex in real life." Likewise and especially with impudence, hate and foul language. I further contend that any positive behavior can be inserted in place of "violence" with the same chance or likelihood of being a behavior template for the observer; of being incorporated into the behavior mechanics and/or coping skills of the observer. In choosing your entertainment, please consider carefully the "rest of the story" and our findings. |
| In the name of Jesus: Lord, Master, Teacher, Savior, God. Tom Carder President ChildCare Action Project (CAP): Christian Analysis of American Culture 100% dependent on your tax-deductible financial support |  |
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