![]() So, did Craven and McAdams pull it off? Or does Red Eye fall among a litany of political thrillers that, ultimately, care more about politics than they let on? Film scholar Ian Scott, in his bookĪmerican Politics in Hollywood Film, once distinguished between “movies that offer politics with a capital rather than a small ‘p’.” If the “capital-P” political thriller is to maintain a distinct shape, the genre has to embody a specific political style, a certain type of violent exchange between protagonist and antagonist that affects politicians, or at least a particular populace. Every thriller is a political thriller in a sense, as is every drama, comedy, horror, or rom-com. The archetype, then, of a political thriller is fraught. ![]() ![]() Politics come part and parcel with every creative work, with anything that one might make or consume. If the personal is political, which it is, then there’s no such thing as an apolitical film. ![]() With all of that political machinery pushing the plot, it remains unclear if a political thriller can ever truly find itself devoid of politics. ![]()
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