By Chris Ernst
The director of Eagle Eye was also the director of last year’s thorn in my cinematic side, Disturbia. The writers of Eagle Eye have not written much at all. This really shows in the lackluster lines, ridiculous plot, heavy-handed morality speech to humanity and general unoriginality.
Eagle Eye brings nothing new to the cinematic table. The only reason you should see this movie is to watch Shia LeBeouf take unimaginative lines and transform the dry words into lively emotion. In one of his first serious roles (when compared to Transformers or Indiana Jones), LeBeouf really keeps the movie going, even when the plot is lacking.
Michelle Monaghan, Rosario Dawson and Billy Bob Thorton could not seem to light up the screen as well as LeBeouf, given equally mind-numbing lines.
Eagle Eye is so ridiculous no one should (or could) take it seriously. The pacing is set to ludicrous speed and there’s hardly a moment to ponder the how, when, where or any other questions.
Of course, there is a big twist to set up act three. Frankly, the twist was disappointing, and the few flashes of originality are all spoiled in the previews, as usual.
The last act of the movie was heavily important. The end is the one place Eagle Eye could have stood apart from all the movie’s previous iterations, however, the almighty dollar won (which really isn’t surprising). Towards the end, the plot gets especially painful. Everything plays out exactly as you would predict, so if you have to go to the bathroom, feel free. You can pick back up easily.
If you keep your expectations low, like I did, then you will not be too disappointed. However, you will neither be pleasantly surprised. Take this movie for what it is: an out-of-season summer movie.
My intelligence was never fully insulted. However, my eyes got a good workout from rolling so much. These characters were supposedly the best two Americans for the job, yet any audience member could do just as well. And maybe some of them could drive a manual.