‘Threat in the air’: a nonsense of Mel Gibson that is flying | Culture

Among the films that (almost) have disappeared from the map of contemporary billboards, relatively cheap action products but with certain fallen layer stars for large companies, without artistic nor remilgates, destined for an audience that only seeks passing entertainment, occupy a paradigmatic place. Before there were two of these every month and now one is rarely released. Before there were spectators for these films, and now they are not supposed to leave the house couch because what they demand have on the platforms. They are not made or premiered because there is no audience for them? Or there is no audience for them because they have not been done or released for a long time, and that type of spectator has simply abandoned? The fish that bite the tail.

Some of this must have thought of Mel Gibson, inconstant director but of unquestionable energy, being social (anti) paid to the controversy for a long time in his personal life, to want to produce and direct a film like Threat in the air. A tape (the word is phenomenal because it takes us back to the videoclubes of the eighties and ninety, to that type of cinematographic article disappeared in combat) of just an hour and a half without respite, simplone and empty, effervescent and forgettable, which goes to what goes without any blindness. Gibson is aware of what he has in hand, basically nonsense, but when he does not boast or crack the eyebrow, he fulfills his purpose, which makes him more sincere than many others.

Of course, with sincerity you get only to a certain point. And to quality, of course, no. The extravagant script of the novel Jared Rosenberg lacks several boils, but perhaps that is the secret: his funny and unprejudiced touch, and somewhat idiot. A pilot transports a Lieutenant of the FBI in his plane who custody to an accountant who will testify in a trial against the mafia. Obviously: They have not invented the wheel. Just three characters, with their secrets, of course, and a single stage, the plane, in an action and adrenaline film. In fact, I could well remember one of the titles we referred to in the first paragraph: Passenger 57 (1992), by Kevin Hooks, with Wesley Snipes as the protagonist. But Gibson, capable of creating restlessness with his staging in his savage previous works after the camera, manages so that the footage passes in a sigh. Of course, nothing more.

So it would be good if the interested viewer, or at least doubtful, takes off the previous filmography of the Australian as director. To a greater or lesser extent, The faceless man, Braveheart (Oscar for Best Film), The Passion of Christ, Apocalypto y To a man They were great. Endowed with a stuning narrative, visual and sound vigor. Threat in the air It is another thing, and it does not reach the sole of the sandal.

There is the question of whether Gibson’s intention composing something like Threat in the air It was to get money to finance with his company, Icon Productions, which really interests him: The resurrection of Christ, sequel to his successful The passion of Christ, planned for the year 2026. But this is based not a few times the cinematographic production, and he is old fox to know. The budget of Threat in the air It was 26 million dollars, and has collected 41 worldwide. Now it’s Spain.