--- title: "Con Air" year: 1997 kind: "film" canonical: "https://film.one/film/con-air" fi1m_id: "con-air" imdb_id: "tt0118880" tmdb_id: 1701 wikidata_id: "Q607910" fi1m_score: 74 critics_score: 69 critics_reviews: 10 published: "2026-09-25T01:24:49.014538+00:00" updated: "2026-09-25T01:24:50.078657+00:00" region: "TR" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Con Air (1997) Directed by Simon West · 1h 56m · Action, Thriller, Crime ## Identity Con Air - **Canonical:** https://film.one/film/con-air - **Type:** Film - **Fi1m ID:** con-air - **IMDb ID:** tt0118880 - **TMDB ID:** 1701 - **Wikidata ID:** Q607910 - **Same entity:** https://www.imdb.com/title/tt0118880/, https://www.themoviedb.org/movie/1701, https://www.wikidata.org/wiki/Q607910 **Fi1m score: 74** · Critics 69 from 10 reviews *In a sentence:* John Malkovich has quite reasonably decided to enjoy himself while everything gets louder > Simon West’s *Con Air* is a noisy, funny action thriller made worth the excess by a cast that commits to the nonsense. Its opening drags and its final stretch overdoes things, but the pleasure in the performances lasts. ## Synopsis Cameron Poe (Nicolas Cage) is the central figure in *Con Air*, alongside Agent Vince Larkin (John Cusack) and Cyrus “The Virus” Grissom (John Malkovich). Its ensemble also includes Nathan “Diamond Dog” Jones (Ving Rhames), “Baby-O” O’Dell (Mykelti Williamson) and “Pinball” Parker (Dave Chappelle). Agent Duncan Malloy (Colm Meaney) and Guard Sally Bishop (Rachel Ticotin) are among the officials, while Monica Potter plays Tricia Poe and Landry Allbright plays Casey Poe. Directed by Simon West and written by Scott Rosenberg, this action thriller runs 116 minutes and carries a 15 certificate. ## Review Simon West’s *Con Air* is an enjoyable action thriller that pushes its noise and nonsense too far. It wants the thrills to be large, the characters unmistakable and the jokes strong enough to survive the commotion. Scott Rosenberg’s screenplay is much better at giving the cast something amusing to say than at making the story persuasive. The pleasure comes from watching performers take their assignments seriously enough to make the absurdity work, without looking embarrassed by what they have been asked to do. Nicolas Cage plays Cameron Poe with a conviction the film badly needs. The performance is emphatic, sometimes almost absurdly so, but there is enough charm to stop all that force becoming tiresome. He seems willing to make the hero look a little strange, which is more interesting than another display of untroubled competence. The weak opening asks us to invest in Cameron Poe before the film has found much momentum, and Nicolas Cage does most of the persuading. John Malkovich plays Cyrus “The Virus” Grissom with enough control to keep the comedy from dissolving the threat. We laughed at his relish for the character’s nastiness, which makes even the more ridiculous dialogue feel worth hearing. He understands how far he can push the performance before the villain becomes harmless, and he stops short of that point. His pleasure in the part is infectious, and his scenes supply much of the humour that makes the film bearable at its loudest. The supporting cast helps, though Scott Rosenberg often gives a performer little beyond a distinctive name and a broad attitude. John Cusack’s Agent Vince Larkin feels less comfortably accommodated by the noise than the more extravagant characters, and not every change of emphasis helps. Still, the ensemble’s willingness to commit is a considerable virtue in a film that leaves so little room for quiet work. Steve Buscemi makes a welcome contribution, giving the humour more variety than another round of macho insistence would. David Tattersall’s cinematography keeps the action readable, a useful achievement when so much is competing for attention. Chris Lebenzon, Glen Scantlebury and Steve Mirkovich cut the action for impact, and the individual sequences have plenty of energy. The pacing across the whole film is less assured, with too little relief from the demand to keep being excited. Mark Mancina and Trevor Rabin’s music adds to that pressure, supplying drive where a little breathing space might have helped. At 116 minutes, the length is reasonable for an action thriller; the trouble is how much of that time goes into prolonging the excitement. Simon West keeps pressing when a firmer decision to stop would have served the film better, and the final stretch spends some of the goodwill the cast has earned. The genre rewards extravagance, but it also needs a sense of when a sequence has done its job. This remains worth an evening for anyone who likes their action cheerfully excessive. Perhaps agree on the volume before starting. *Fi1m score 74, published 25 September 2026.* ## What the critics say Most critics find Con Air an entertaining action film whose absurdity is a large part of its appeal. Praise centres on the cast’s wholehearted commitment, with Nicolas Cage’s charisma and John Malkovich’s amused villainy drawing particular approval. The action sequences, sharp dialogue and jokes also win support. The favourable reviews tend to accept the macho silliness rather than excuse it: the performances give critics enough to enjoy even when the plotting strains belief. Reservations cluster around excess, uneven storytelling and a finale that several critics find overextended. There is also disagreement over how well the ensemble is served: Total Film finds that most of the cast has little to play with. The spread runs from enthusiastic approval to one sharp dissent. The Los Angeles Times acknowledges Malkovich and some good lines but finds the noise and silliness numbing rather than exhilarating. ## Straight answers **Is Con Air worth watching?** *Con Air* is worth watching if we want cheerfully excessive action and a cast that makes the nonsense enjoyable; we score it 74 out of 100. Nicolas Cage supplies conviction and John Malkovich supplies much of the humour, though the opening drags and the final stretch keeps going beyond the point of pleasure. **How long is Con Air, and what is it rated?** *Con Air* runs 1h 56m. It is an action and thriller film. **Where can I watch Con Air in Türkiye?** *Con Air* is streaming on Disney+ in Türkiye. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Con Air, and is it suitable for children?** *Con Air* carries a UK 15 certificate, so it is not suitable for children under 15. We find its action loud and relentless, with villainous nastiness played partly for laughs; the certificate points to material for older teenagers and adults, but does not by itself establish how graphic the violence is. **How does Con Air compare to Speed?** *Con Air* offers more noisy ensemble comedy than [*Speed*](https://film.one/film/speed), which we recommend for a more engrossing action thriller built around a bomb on a bus. Both take an absurd predicament seriously enough to make it work, but *Con Air* relies more on extravagant performances, while *Speed* gives us stronger reasons to care beyond the next stunt. ### Reviews we read (10) - **Empire**, Caroline Westbrook (85/100, inferred): Westbrook finds the film a hugely entertaining, exhilarating action ride despite its silliness. She especially praises its escalating set pieces and the cast’s relish, while noting a misplaced cop performance and a soggy ending. [Read](https://www.empireonline.com/movies/reviews/con-air-review/) - **Radio Times**, Jason Caro (4/5): Caro considers it a top-notch action thriller that cemented Nicolas Cage as an unlikely action hero. He praises Cage’s macho performance and John Malkovich’s tongue-in-cheek villain turn. [Read](https://www.radiotimes.com/movie-guide/b-i6csw8/con-air/) - **Total Film**, Total Film (4/5): The review calls the film a silly, loud, entertaining action movie, despite a weak opening and an overdone finale. It praises the energetic action sequences and jokes, while noting that most of the cast has little to play with. [Read](https://www.gamesradar.com/con-air-review/) - **The Guardian**, Graeme Virtue (75/100, inferred): Virtue finds that Con Air has grown even more absurd with age, yet remains a thrillingly over-the-top action movie. He singles out the cast’s wholehearted commitment to its macho ridiculousness as especially infectious. [Read](https://www.theguardian.com/film/filmblog/2017/jun/06/con-air-weirder-with-age-nicolas-cage-john-malkovich) - **The New York Times**, Janet Maslin (70/100, inferred): Maslin finds Con Air a slick, well-cast action lark whose thrills are softened by sardonic detachment. She particularly praises Nicolas Cage’s charismatic performance and the entertaining quirks of the ensemble cast. [Read](https://archive.nytimes.com/www.nytimes.com/library/film/con-air-film-review.html) - **Variety**, Todd McCarthy (70/100, inferred): The critic finds the film an exciting, commercially assured actioner whose strengths outweigh its shortcomings. He praises the cast and sharp dialogue, but says the overlong Vegas climax undermines the film’s momentum. [Read](https://variety.com/1997/film/reviews/con-air-1117341384/) - **The Hollywood Reporter**, Duane Byrge (65/100, inferred): The review sees Con Air as an entertaining, commercially potent action film, though it faults the story’s turbulence and technical excess. It praises the witty screenplay and especially the well-chosen cast, singling out the performances of Nicolas Cage, John Malkovich and Steve Buscemi. [Read](https://www.hollywoodreporter.com/movies/movie-news/con-air-review-1997-movie-1010665/) - **Time Out**, TCh (64/100, inferred): The page identifies this as a review, but the critic’s verdict is not visible. No specific praise or complaint is available in the accessible text. [Read](https://www.timeout.com/movies/con-air-1) - **RogerEbert.com**, Roger Ebert (2.5/4): Ebert’s review finds the film entertaining despite its over-the-top action and implausibility. Its outsized, action-packed spectacle is a central part of its appeal. [Read](https://www.rogerebert.com/reviews/con-air-1997) - **Los Angeles Times**, Kenneth Turan (35/100, inferred): Turan finds the film numbing and ultimately more dispiriting than exhilarating, despite its ability to keep viewers entertained. He praises John Malkovich’s gleeful performance and notes some good lines, but faults the overwhelming noise and silly moments. [Read](https://www.latimes.com/archives/la-xpm-1997-06-06-ca-461-story.html) ## Details - **Director:** Simon West - **Director:** Simon West - **Screenplay:** Scott Rosenberg - **Cinematography:** David Tattersall - **Editor:** Glen Scantlebury, Steve Mirkovich, Chris Lebenzon - **Music:** Mark Mancina, Trevor Rabin - **Costume design:** Bobbie Read - **Producer:** Jerry Bruckheimer - **Cast:** Nicolas Cage as Cameron Poe; John Cusack as Agent Vince Larkin; John Malkovich as Cyrus "The Virus" Grissom; Ving Rhames as Nathan "Diamond Dog" Jones; Mykelti Williamson as "Baby-O" O'Dell; Dave Chappelle as "Pinball" Parker; Colm Meaney as Agent Duncan Malloy; Monica Potter as Tricia Poe - **Runtime:** 1h 56m - **Release (Türkiye):** 5 September 1997 - **Genres:** Action, Thriller, Crime - **Budget:** $75 million - **Box office:** $224 million - **Trailer:** https://www.youtube.com/watch?v=Sm3AAG6JyL4 ## Where to watch in Türkiye - Disney+: streaming, hd *Checked 2026-09-25.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, UA, US, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 1998: Best Sound (nominated) ## If you liked this - *The Taking of Pelham One Two Three* (1974): A tighter thriller with dry humour and villains worth listening to. - *Police Story* (1985): Physical comedy and punishing action, with rather less patience for speeches. - *Speed* (1994), Fi1m 86: For the same pleasure in an absurd predicament taken seriously. — [Fi1m page](https://film.one/film/speed.md) - *The Long Kiss Goodnight* (1996): More extravagant action, sustained by sharp jokes and committed performances. - *A Hard Day* (2014): Another bad situation made worse, with welcome malice in the humour. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/con-air