★★★ Idris Elba’s star power and a claustrophobic set-up are undercut by catastrophically dim bad guys and tedious non-plots on the ground 🖋️ Neil Armstrong
There’s the urbane captain, tossing out restaurant recommendations to the chap in air traffic control; the fellow who’s late, running through the airport to make the gate on time; the stressed couple with two noisy kids; irritating Hugo who has to be asked to turn his phone down; the shifty-looking bearded man; the nervous flyer.
The latter is right to be nervous because the plane hasn’t been in the air for 15 minutes when a gang of five hijackers armed with handguns take it over. “This is how it’s going to work,” announces one of the bad guys, in a speech straight out of the hijackers’ handbook. “Nobody makes any noise, nobody makes any trouble, and nobody gets seriously injured.”
That’s the bad news. The good news is that among the passengers is Sam Nelson who just happens to be a skilled corporate negotiator and who takes it upon himself to try to keep both the hijackers and the passengers calm.if you disagree – but here he’s less of an action hero than an inaction hero, at least initially. He advocates against trying to overpower the hijackers and suggests a caution-first approach is likely to save the greatest number of lives. Still, even a low-key Elba is good value.
When we’re in the enclosed, claustrophobic space of the plane, the tension builds as the passengers find ways to communicate, begin to hatch plots and try to discover whether the hijackers’ guns are loaded with blanks. However, when we go to the storylines on the ground, pfffft – all that tension dissipates, like a balloon deflating. There is what seems like a completely unnecessary sub-plot about Nelson’s ex, a host of underdeveloped characters and the usually excellentThe show does do a good job in making us hate the hijackers. There are four men and a woman; Neil Maskell plays their leader. They’re British and we don’t know what their demands are for the first few episodes.
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