One has to wonder why the likes of Kiefer Sutherland, Kelly McGillis, Kristy Swanson and Henry Winkler would lend their talents to a routine drama like this. While not exactly at the peak of their game – Sutherland was still in a lull before "24" reinvigorated his career; McGillis, Swanson and Winkler were well past the heyday years of "Top Gun", "Buffy" and "Happy Days" respectively – they're collectively too good to be wasted on such uninspired fare. This drama set in the world of air traffic control is routine in every department. Watching it will not offend your sensibilities in any way, shape or form
. but neither will it have you raving to all your friends what an undiscovered masterpiece you've just unearthed.
Jack Harris (Kiefer Sutherland) used to be an ace air traffic controller, until one night in Chicago he listened helplessly as a flight in his sector crashed, killing all 174 passengers and crew. Although Harris was blameless, the incident left him deeply scarred. Five years later he makes a living in Phoenix, designing computer software and gradually recovering from the break-up of his relationship and battle with alcoholism. Harris's old air traffic buddy TC Bryant (Bruce McGill) – who has also moved down to Phoenix - approaches him one New Year, asking Harris to help out at the air traffic control centre during a staff shortage. Harris is reluctant but he eventually agrees. As it happens, Phoenix is excessively busy with aircraft that night as a storm has diverted more than fifty extra flights their way. Other controllers trying to land the planes safely that night include cocksure Cruise (Robert Sean Leonard) and first-night-on-the-job rookie Julie Albrecht (Kristy Swanson). As the pressure builds, Harris finds himself struggling to remain focused and he keeps experiencing flashbacks to that fateful night in Chicago. Then the unthinkable happens – an aircraft puts in a distress call. They've lost all power and hydraulics, they can't even turn the plane, they're low on fuel and they're carrying over 130 passengers. Harris thinks he knows a way to bring the plane in safely . but will his nerves hold?
Ground Control is clichéd stuff. Every character is lifted from stock – if you have your tick boxes ready, there's the flawed hero (Sutherland) - check; the cocky rival (Leonard) - check; the rookie (Swanson) - check; the dryly humorous technical boffin (Winkler) - check; the pig-headed boss (McGillis) – check; and the inspirational father figure who draws everyone together in a crisis (McGill) – check! Much of the dialogue is incomprehensible air traffic lingo ("turn right on a 2-9er-2 heading and reduce air speed by 15 knots"), and some scenes become tedious due to the sheer weight of technical babble. However the film is not all that badly done. The actors at least try quite hard in their cardboard roles, and the final twenty minutes or so, during which they battle to bring in the stricken plane, has an element of excitement. This is an unexceptional, workmanlike drama – easy viewing for those with an hour and a half to spare.
Jack Harris (Kiefer Sutherland) used to be an ace air traffic controller, until one night in Chicago he listened helplessly as a flight in his sector crashed, killing all 174 passengers and crew. Although Harris was blameless, the incident left him deeply scarred. Five years later he makes a living in Phoenix, designing computer software and gradually recovering from the break-up of his relationship and battle with alcoholism. Harris's old air traffic buddy TC Bryant (Bruce McGill) – who has also moved down to Phoenix - approaches him one New Year, asking Harris to help out at the air traffic control centre during a staff shortage. Harris is reluctant but he eventually agrees. As it happens, Phoenix is excessively busy with aircraft that night as a storm has diverted more than fifty extra flights their way. Other controllers trying to land the planes safely that night include cocksure Cruise (Robert Sean Leonard) and first-night-on-the-job rookie Julie Albrecht (Kristy Swanson). As the pressure builds, Harris finds himself struggling to remain focused and he keeps experiencing flashbacks to that fateful night in Chicago. Then the unthinkable happens – an aircraft puts in a distress call. They've lost all power and hydraulics, they can't even turn the plane, they're low on fuel and they're carrying over 130 passengers. Harris thinks he knows a way to bring the plane in safely . but will his nerves hold?
Ground Control is clichéd stuff. Every character is lifted from stock – if you have your tick boxes ready, there's the flawed hero (Sutherland) - check; the cocky rival (Leonard) - check; the rookie (Swanson) - check; the dryly humorous technical boffin (Winkler) - check; the pig-headed boss (McGillis) – check; and the inspirational father figure who draws everyone together in a crisis (McGill) – check! Much of the dialogue is incomprehensible air traffic lingo ("turn right on a 2-9er-2 heading and reduce air speed by 15 knots"), and some scenes become tedious due to the sheer weight of technical babble. However the film is not all that badly done. The actors at least try quite hard in their cardboard roles, and the final twenty minutes or so, during which they battle to bring in the stricken plane, has an element of excitement. This is an unexceptional, workmanlike drama – easy viewing for those with an hour and a half to spare.