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Reviews provided by RottenTomatoes
Rene Rodriguez, Miami Herald: It's a grabby premise in search of a movie. Read more
Moira MacDonald, Seattle Times: Just another thriller with too much plot. Read more
Michael Phillips, Chicago Tribune: Everything from the icy blue palette of the cinematography to the icy blue glare of its star speaks to a mood that is somber rather than hyperkinetic. Read more
Mick LaSalle, San Francisco Chronicle: It's a tense, concise and elegantly shot film that creates a sense of menace from the very beginning - - and in a way that's unusual. Read more
Richard Roeper, Ebert & Roeper: I do think this is a solid thriller for our times. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: Not since William Shatner saw a thingie on the wing of his plane in an old Twilight Zone has a flight been thrown into such panic by one passenger. Read more
Bill Muller, Arizona Republic: Foster is believable, but casting her is like entering a Maserati in the soapbox derby. Read more
Wesley Morris, Boston Globe: Ultimately what makes this picture fly is Foster, who's playing another character who turns jeopardy into vengeance as a rite of motherhood. Read more
Carina Chocano, Los Angeles Times: The movie loses some of its initial atmospheric tension as paranoid thrills give way to Rambo high jinks. Read more
Lisa Kennedy, Denver Post: Like Red Eye, last month's air-scare flick, Flightplan rides a jet stream of post 9/11 worries. Read more
Owen Gleiberman, Entertainment Weekly: One of those thrillers that pivots around the question of how daring -- or how focus-group cautious -- we suspect the filmmakers will turn out to be. Read more
Philip Wuntch, Dallas Morning News: Final moments are filled with twists, many of which stretch plausibility, but the blessed thing wraps up in a taut 88 minutes. Read more
John Patterson, L.A. Weekly: The vanished child one really misses here is that adorably sparky, wised-up kid from Bugsy Malone and Alice Doesn't Live Here Any More. Read more
Jan Stuart, Newsday: [Flightplan stays on] a course mapped out by so many celluloid disappearing acts that pale in the long shadow of Hitchcock's The Lady Vanishes. Read more
Stephen Whitty, Newark Star-Ledger: The plot, once you have time to think about it, should so obviously never have been cleared for takeoff. Read more
Jami Bernard, New York Daily News: There's so little reason behind the plot that it's hard to focus on Foster's fierce performance. Read more
Rex Reed, New York Observer: [Foster's] such a valuable commodity that I wish she'd spend her time making better movies. Read more
Manohla Dargis, New York Times: To watch Jodie Foster storm through a phony airplane for an entire movie has its very minor pleasures, but there is nothing here to feed the head or fray the nerves. Read more
Roger Moore, Orlando Sentinel: Flightplan, nerve-racking as it is, stops well short of its final destination. Read more
James Berardinelli, ReelViews: Despite the participation of selective, talented actress Jodie Foster and a screenplay that borrows heavily from The Lady Vanishes, Flightplan can't avoid falling apart during its final half-hour. Read more
Roger Ebert, Chicago Sun-Times: Flightplan delivers a frightening thriller with an airtight plot. Read more
Stephanie Zacharek, Salon.com: If you bring an eye mask and a few sleeping pills, you should get through it OK. Read more
Jeff Strickler, Minneapolis Star Tribune: The first half, which is vintage Hitchcock, is by far superior to the second half, which is pure Steven Seagal. Read more
Globe and Mail: Flightplan calls to mind that old Kris Kristofferson song, The Pilgrim, about the man who doesn't know if the goin' up was worth the comin' down. Read more
Geoff Pevere, Toronto Star: Foster's cobalt-blue eyes and pale, pointy features have rarely been used to such ambiguous effect. Is she the hardest or the most hurt-looking woman you've ever seen? Read more
Robert Koehler, Variety: The care and craft exhibited by director Robert SchwentkeRobert Schwentke in Flightplan is largely undone by a script that self-destructs in the third act of an otherwise well-made thriller. Read more
Mark Holcomb, Village Voice: We're starkly reminded that there's nothing quite so fickle as paranoia, and that some people are never more persuasive than when they're out of their minds. Read more
Ann Hornaday, Washington Post: Succeeds admirably, both as a sophisticated psychological thriller and as an example of, if not great art, then superb craftsmanship. Read more