#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Jerry Shaw is an amiable slacker with an over-achieving twin brother. After his twin dies in an accident, strange things happen to Jerry at a dizzying pace: a fortune shows up in his bank account, weapons are delivered to his flat, and a voice on his cell phone tells him the police are on their way. Jerry follows the voice’s instructions, and soon he and a woman he’s never met are racing through the city, on to a plane, and eventually to the Pentagon, chased by the FBI. She is Rachel Holloman, a single mom; the voice has threatened her son’s death if she doesn’t cooperate. The voice seems to know everything. Who is behind it, what is being planned, and why Jerry and Rachel?
Plot: Jerry Shaw and Rachel Holloman are two strangers whose lives are suddenly thrown into turmoil by a mysterious woman they have never met. Threatening their lives and family, the unseen caller uses everyday technology to control their actions and push them into increasing danger. As events escalate, Jerry and Rachel become the country’s most-wanted fugitives and must figure out what is happening to them.
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|6.6/10 Votes: 176,978|
|6.4 Votes: 2105 Popularity: 20.369|
A timely reminder of what makes action/thriller movies fun.
Jerry and Rachel are two strangers thrust together by a series of scenarios put together by a mysterious female caller. Under threat to their families and themselves, both Jerry & Rachel must overcome the most hazardous of situations. Intriguingly everything around them seems to be controlled by the female voice that guides them, but just why is the FBI so hot on their tail?, does Jerry’s twin brother hold the key?. All will be answered as our protagonists hurtle towards something that may have deadly consequences for America.
Big Brother gets a reboot and delivers as fun a genre picture as was released in 2008. Yes it’s total nonsense, but really the critics venting spleen on this one must have gone through a popcorn entertainment bypass prior to viewing it. Director D.J. Caruso continues his Hitckcockian leanings by following his surprisingly fun “Disturbia” with this “North By Northwest” type concept that meets a host of the genre staples, where the influences are very hard to miss. Yet as daft as it is, and it is folks, “Eagle Eye” knits well together to play out as a highly accomplished piece, the action is first rate, in fact on big screens the two main sequences explode with joyous action abandon. This isn’t found wanting on the thriller front either, it’s safe to say that no new ground is to be found as we get to the tick tock countdown finale, but Caruso, and writers John Glenn & Travis Wright, have spliced together a series of wholly interesting and thrilling strands. So much so that the finale is disappointingly unable to quite deliver on the promise of the prior build up.
Shia LaBeouf seemed destined to be a young actor who had to earn even the smallest bit of respect, where much like DiCaprio at the time, you felt LaBeouf was likely to get better notices later in his career. After being sidekicks to John McLaine, Indiana Jones, and erm, Optimus Prime, LaBeouf here earned his acting spurs and carries the film with a charm and credibility that the daftness of the piece doesn’t quite deserve. Shia is helped enormously by a strong female lead, Michelle Monaghan has an impressive ability to sweat strength whilst channelling believable emotional turmoil, and her interplay with LaBeouf is the heartbeat of the picture. Of the rest, Michael Chiklis is a bit underused, but this is offset by Billy Bob Thornton continuing that knack of being one of the most watchable actors of his generation. Rosario Dawson is sadly weak in this and William Sadler is barely noticeable, conversely though a nod of approval goes to Anthony Mackie who shines in a crucial sequence towards the end.
My first viewing was when I went to the cinema with the then two ladies in my life, we were a bit early and sat in the foyer for a while, we watched as they were queuing out the door for “High School Musical 3” and weird looking people were trundling in to see “Saw 5”. There were a total of 12 people in the cinema to see “Eagle Eye” on its second week run, at a peak viewing time as well. That was a damn shame because “Eagle Eye” may well be a dumb and fun action/thriller picture, but it’s not pro-porting to be anything else, and really film’s with honest entertainment intent are to be treasured and used for why they are made for in the first place. “Eagle Eye” is made for those who want to shut off from the world for a couple of hours, and in doing so have an energised blast in the process. 7.5/10
The most interesting part of the film is dropped not long after the film’s act two reveal, and a film that seemed “not great, but promising”, ended up losing its promise.
_Final rating:★★ – Had some things that appeal to me, but a poor finished product._
Mildly enjoyable, but not entirely memorable.
I think this is possibly the third film this year that has directly involved a higher power turning ‘insufficient funds’ into a considerable amount, and while this comparison is valid in a sense, that’s where similarities end. From the trailers I was imagining Eagle Eye to be a cross between The Matrix and Wanted, but it’s not not at all. No, it is neither creatively similar nor anywhere near the same quality. So despite some similarities, Eagle Eye at least delivers an experience that is refreshing, but at the same time familiar. Not much risk-taking is implemented here; there are virtually no new ideas of any kind, and the themes present have all been battered to death in countless novels and films that have frankly done the job far more successfully. Read aloud, the script could easily be interpreted to be a techno-phobe’s transcription of a recurring nightmare; the government tracking us all on phones, cameras lip-reading us etc. etc. and for the most part, that is how the movie plays out. While these elements leave an experience that will always have you guessing as to where the movie is going next, the eventual climax of the film boils down to character rather than plot, and as a result of spotty characterisation, the film eventually falls flat. Despite some major issues however, Eagle Eye still manages to retain a sense of spectacle, and the story, although mostly a science-fiction dud for the most part, does move forward at a decent rate. In this regard, the movie makes for good popcorn watching, but not much else.
Following meek photo-copy shop clerk Jerry Shaw (Shia LaBeouf) as he takes the road after being wrongly suspected as a terrorist by the FBI, Eagle Eye is standard political thriller material; there’s the hard-ass government officials, the misunderstood civilian who is inevitably on his way to save everyone, and the fragile love interest along for the ride in the form of Rachel Holloman (Michelle Monaghan). What makes this feature at least a little more interesting than the cookie-cutter outline of thriller scripts however is that both these lead characters are being led on a mysterious journey across the country by a voice-on-a-phone who has access to all sorts of technology that governs our civilisation from computers, phones and TVs to billboards and alarm systems. Through this voice, Eagle Eye delivers its main theme of technological sabotage and paranoia; Big Brother with ones and zeroes. Of course, it’s not the most original of ideas, and the movie’s script plays them as obvious as can be with no desire for subtlety at all. As such, the writer’s lack of anything interesting to say becomes apparent after the first act comes to an end. As far as science-fiction goes, it’s standard thematic material. Again, no real developments or ideas are plugged in here for you to digest, only well established ones reiterated for your brainless entertainment.
One of the script’s far more successful elements however lies in the character of Jerry, and his off-screen relationship with his recently deceased brother. Although the movie never transgresses beyond the rather a-typical successful brother/lazy brother aesthetic, the writing is focused and sharp enough to give actor LaBeouf enough material to work with. So far this year LaBeouf has proved himself a highly capable performer, and Eagle Eye does well to showcase his talents here. While his chemistry with co-star Monaghan is almost non-existent, the actor does well to cover up most of the holes in this mismatch, and in his character in order to make Jerry a sympathetic, but engaging persona to watch. As a leading man, LaBeouf still shows some restraint and doesn’t ever quite improve on his less-than-charismatic performance in Transformers, but as was the case there, his small image often complements the scope of the movie.
In the end, all the characters and their developed relations do eventually come to an emotionally engaging climax that capitalises on such developments with great conviction. Of course, there’s a dud of an ending that follows the real climax in order to provide picky viewers with a bow on top of their cathartic package, but it doesn’t hurt the final payoff too much. Taken as a whole however, Eagle Eye certainly isn’t perfect but it isn’t bad either. For popcorn entertainment, director D.J. Caruso does his job well enough to create an engaging thriller that delivers some action, some character and some plot, even if it all feels a little underwhelming when put together. Anyone looking for anything but fluffy action-orientated thrills driven by mystery and spotty politics would be best to find something else to chew on; mildly enjoyable, but not entirely memorable.
* Written by Jamie Robert Ward (http://www.invocus.net)
Tension Filled Mindless Action Flick
I went to see a free preview of this movie tonight with my wife, thanks to the local indie newspaper. Based on the trailers alone, I made a five dollar bet about the “bad guy” in the film before the lights even went dark, and I got to claim victory halfway through the movie.
Besides being mildly predictable, it was tense. Very tense. There weren’t any major twists and turns, although the motivation for why these two characters are chosen to carry out this plot is fairly clever. One wonders what the nemesis would have done had a certain character been an only child. The stunts, chases, explosions, and fights are all well done and visually interesting, although it’s clear that Chiklis, Rosario, and Billy Bob are being just professional enough as actors to collect their paychecks while still having fun with their roles.
The last thirty seconds will also make you wonder what the dialog writers were thinking, and I assure you every hacker-wannabe teenager will have the checkerboard font from this movie on their webpages for the next three months. There’s no real depth of thought to this movie, nor are there any revelations about our data-mining rich culture that isn’t reported daily in any major newspaper nor fantasized about on Slashdot. It’s aw-shucks McGuffins and security camera narrated chases the whole way, with a thankfully wider field of view than the second Bourne movie, but the cautionary tale has been around since Mary Shelley. Otherwise, if you’re looking for an escapist but reasonably fresh look at the modern tension-filled technothriller, Eagle Eye fits the bill nicely.
Original Language en
Runtime 1 hr 58 min (118 min)
Genre Action, Mystery, Thriller
Director D.J. Caruso
Writer John Glenn (screenplay), Travis Wright (screenplay), Hillary Seitz (screenplay), Dan McDermott (screenplay), Dan McDermott (story)
Actors Shia LaBeouf, Michelle Monaghan, Rosario Dawson, Michael Chiklis
Country USA, Germany
Awards 3 wins & 8 nominations.
Production Company Kurtzman/Orci
Sound Mix SDDS, Dolby Digital, DTS, Sonics-DDP (IMAX version)
Aspect Ratio 2.39 : 1
Camera Arriflex 235, Panavision Primo Lenses, Panavision Panaflex Lightweight, Panavision Primo Lenses, Panavision Panaflex Platinum, Panavision Primo Lenses
Laboratory Company 3, Los Angeles (CA), USA (digital intermediate), DeLuxe, Hollywood (CA), USA (prints)
Film Length 3,209 m (Sweden), 3,224 m, 3,244 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak Vision2 500T 5218)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (common-top) (source format)
Printed Film Format 35 mm (anamorphic) (Kodak Vision 2383), 70 mm (horizontal) (IMAX DMR blow-up) (Kodak Vision 2383), D-Cinema