Violent, funny and featuring a fiercely committed performance from Betty Gilpin, Zobel makes the best use of casting since something like Executive Decision (1996)—meaning the film immediately asserts its unpredictable pattern of who will live and who might survive by playing with our expectations.
For starters, our hero is a loud, obnoxious jerk that few people would want to spend any amount of time with and I fear that Butler embodies that characteristic to a T—you spend the first half of the movie hoping that the film is going to pull an “ Executive Decision ” and knock him out early so that the real and actually likable hero can come in and save the day.
In short, it may not be original, in the sense that Non-Stop’s story has been trumped by the likes of the aforementioned Executive Decision and, er, reality, but it grips and that, not plausibility, is all we ask of a thriller.
With the Die Hard series recently cloning itself with execrable effect, it’s almost reassuring to see someone else at it once again – an addition to the ‘Die Hard on a/in the…’ sub-genre that includes old favourites like Under Siege, Cliffhanger, Passenger 57 and, er, Executive Decision.
The script is by David Franzoni, who wrote an arguably better draft of the Gladiator script than cowriter John Logan, who took the bows but then went on to the stilted Last Samurai and downright daft Star Trek: Nemesis.
Star Trek: Nemesis, the worst Trek film performance at the box office, still moved around 1.3 million tickets opening day, far more than “Day of the Doctor.”
Logan is the author of such leaden, boring movies as Gladiator , The Time Machine , Star Trek: Nemesis , Sinbad: Legend of the Seven Seas and The Last Samurai .
Nevertheless it’s the story that maketh the dysfunctional family movie and here screenwriter John Logan, finally atoning for his near franchise decimating Star Trek: Nemesis screenplay, has fashioned a funny and joyful comedy Western, with a fine retinue of stock characters.