If Michael Bay had directed War Games, it might have ended up a little like Eagle Eye, a supercharged, preposterously drawn thriller that requires a little suspension of disbelief. No, scratch that. It requires A LOT OF SUSPENSION OF DISBELIEF!
In Eagle Eye, Shia LaBeouf plays Jerry Shaw, an underachiever who can't seem to get out from under his more accomplished twin brother's shadow. One day, while making his way home after an emotionally grueling morning, he receives a strange phone call from a woman who ultimately plunges his life into complete and utter chaos. Faster than you can say "North By Northwest," Jerry finds himself on the run from government officials who are convinced he's involved in terrorist activities.
War Games isn't the only film that Eagle Eye borrows from. As this over wrought but fast-paced thriller blazes from one ridiculous moment to the next, one might be reminded of Enemy of the State, The Game, and The Fugitive – watch as co-star Billy Bob Thornton attempts, unsuccessfully I might add, his best Tommy Lee Jones impression. The first half of the picture provides a terrific set up and from the get go, an effective Shia LaBeouf plays a character worth caring about. Equally effective is the fashion in which director D.J, Caruso–who collaborated with LaBeouf for last year's Disturbia-- introduces Michelle Monaghan's vulnerable single mom, Rachel Holloman. It's obvious that Jerry and Rachel will at some point cross paths and that they will bond in some shape or fashion, but both performers are convincing enough to keep at least the character work in the picture somewhat sensible. That's what separates Caruso from the likes of Michael Bay. At the very least, there's an earnest attempt at genuine character development here.
It's too bad screenwriters John Glenn, Travis Wright, Hillary Seitz, and Dan McDermott didn't exercise a little restraint. Too many Chefs at the hotdog stand I suppose. As the film's two fearless leads are commanded to complete one crazed challenge after another by a mysterious woman communicating by way of cell phone, the proceedings become a little too much for any rational human being to buy into, particularly during the dizzyingly muddled spectacle of a car chase that occurs in the first half of the picture. Watch as Rachel weaves in and out of traffic all while being ordered by the voice of a woman who couldn't possibly be able to determine the survival instincts of every other driver on the road.
Now some might argue that when Eagle Eye makes its big reveal, and we discover the identity of the film's mysterious antagonist, that the outlandish situations become more palatable. Wrong! The entire conceit is still positively preposterous.
Those looking for a fast-paced thriller, will probably enjoy themselves, and indeed, I certainly had a fun time during portions of the movie. It isn't without it's awe inspiring moments and well conceived action sequences. In particular, I liked the big chase scene in the baggage transport warehouse.
Alas, the ridiculous nature of the plot and implausible hijinks on display throughout the picture overshadow anything remotely resembling reality. It would have been nice if the film would have stuck to its provocative roots. At one point, I got the distinct impression that the film makers wanted us to buy into the whole "what if" notion of the plot. "Big Brother is watching" is a wonderful theme that's been explored in many great movies–see 1984, but here, the film makers simply go too far. Or maybe I'm just reading too much into it. Whatever the case may be, the balance wasn't there. Eagle Eye is adrenaline soaked, but far too silly to be taken seriously. Even the final act, which is supposed to evoke a grand sense of tension, doesn't offer up a sufficient payoff.
As dumb, perilous thrillers go, you could do a lot worse than Eagle Eye. I just wish the film's hefty ambitions would have taken it more into the realm of 2001: A Space Odyssey instead of the sensory overloaded world of Transformers.