An efficient thriller that alludes to both the war on terror and female abuse without allowing either issue to interfere with its consistently taut action, Wes Craven’s Red Eye takes its place alongside last year’s Cellular as that all-too-rare Hollywood creation: a tightly wound, intelligent, and gimmick-free suspense film. Upscale hotel manager Lisa Reisert (Rachel McAdams) flirts with stranger Jackson Rippner (Cillian Murphy) before and during their long-delayed red eye to Miami, only to discover mid-flight that her new male acquaintance is a shadowy terrorist-for-hire threatening to kill her father (Brian Cox) unless she assists in his plot to assassinate the Director of Homeland Security (Jack Scalia) who’s staying at her hotel the following day. At a speedy 85 minutes, Craven’s brisk film has a muscular leanness that’s been sorely lacking in his recent output (Cursed, anyone? Thought not). But what makes his latest such a surprising delight is the way in which the director also cannily links Lisa’s predicament with post-9/11 security anxiety and rape. Rippner’s kidnapping of Lisa is a metaphor for both our current terrorism-sparked fears of border infiltration as well as sexual cruelty, and thus when the tough-as-nails heroine, refusing to be a victim, fights back against her would-be captor, Red Eye transforms from simply a rollicking (though somewhat slight) B-movie into a stirring portrait of personal and national retaliation against violent violation.