The movie turns into a complicated duel that depends on precise observation of physical detail and moment-by-moment continuity so closely calibrated that it's impossible to find a wasted shot or an exaggerated emotion.
If constructing a thriller could be likened to building a house, then Wes Craven's Red Eye is a perfect piece of architecture: It's clean-lined and soundly structured, without a foot of wasted space or any materials left unused.
Ebert & Roeper
For Wes Craven, who I like a lot as a slasher director, he really goes into a different direction with this.
The movie gains an effective footing by, basically, thoroughly exploiting one's fear of being blackmailed into something dangerous.