Game performances from Mark Wahlberg, Michelle Dockery and Topher Grace lift this silly but diverting action movie set almost entirely on a small aircraft

Irritating though it is to be conceding anything to the objectionable Mel Gibson (whose 2006 film Apocalypto is very good), his new film does serve up a fair bit of entertainment value. It is an action suspense thriller set almost entirely on board a rickety small-prop plane, flying in a desperately dangerous situation through the Alaska wilderness. First-time feature screenwriter Jared Rosenberg had his script on the Black List of unproduced screenplays for four years before Gibson picked it up.

Michelle Dockery plays Madelyn, a deputy US air marshal who arrests a bespectacled mob accountant called Winston, played by Topher Grace; this white-collar malefactor had been hiding out in a squalid, remote Alaska hotel room. The cringing Winston is persuaded to turn state’s evidence against his capo paymaster and so Madelyn has to transport him to the nearest city for the trial, fully chained up as a flight risk. The only way of getting him there through this snowy wasteland is in an alarmingly tiny plane piloted by the cheerful Daryl Booth, a Texan good ol’ boy played by Mark Wahlberg.

The Brutalist is the next most favoured choice, with its mesmeric drama, currently neck-and-neck with the sugary charm of Wicked

• News: Emilia Pérez breaks record with 13 as The Brutalist and Wicked both trail with 10
• Oscars nominations 2025: the full list

So the strange process of Oscar-night groupthink consensus begins, and a certain film becomes mysteriously garlanded as the obvious choice to be preferred over the others as the big winner. Jacques Audiard’s baffling, amusing, preposterous and (to some) artlessly offensive Mexican trans crime musical Emilia Pérez leads the field with 13 nominations. But for me, Emilia Pérez is pretty much the weakest movie on the best picture list, certainly not as good as, say, Nickel Boys, which doesn’t get much of the conversation.

But Emilia Pérez could be heading for the same kind of tulip-fever acclamation that greeted the phantasmagoric Everything Everywhere All at Once from 2022 which cleaned up on Oscar night. Awards season connoisseurs know how, in the world of bland streaming content, films that are different, which get Oscar voters excitedly alerting each other to their unusualness – without being too unusual – can generate their own momentum. It’s certainly a remarkable success story for Audiard, a French director in the classic mould, entirely and magnificently unaware of liberal Anglo-Hollywood squeamishness over whether or not certain stories are “his to tell”. A French auteur’s prerogative covers everything.