Collet-Serra then plows through the other scene-setting details in similarly expedient fashion, introducing an “Airport”-worthy cast of passengers that includes a frazzled businesswoman (Julianne Moore), a tough New York cop (Corey Stoll), a thirtysomething slacker dude (Scoot McNairy), a Muslim doctor (Omar Metwally) just waiting to be racially profiled, and the de rigueur unaccompanied minor.
When we first see Marks, sitting in his car outside JFK on a rainy, wintry day, the bottle of Jim Beam in his hand tells us he’s a man with a troubled/tragic past that will inevitably come home to roost somewhere around the movie’s third act.
Nonstop movie movie#
There, Peter Sarsgaard was the seemingly benevolent air marshal who turned out to be a raging psycho intent on turning the plane into a giant WMD here, someone who perhaps saw that movie is trying to frame Neeson’s Bill Marks to appear the same way. Richardson, Chris Roach and Ryan Engle, also bears more than a glancing resemblance to 2005’s “Flightplan,” in which Jodie Foster’s grieving widow becomes convinced that someone has kidnapped her young daughter in the middle of a transatlantic jumbo-jet flight. But the script, credited to tyro scribes John W. It’s easy to imagine that “Non-Stop” was pitched as “’Unknown’ on an airplane,” with Neeson once again spending most of the running time trying to convince people that he is who he says he is - in this case, the federal air marshal trying to root out a hijacker, as opposed to being the hijacker himself.