When Flight was released to cinemas in 2012, it represented Robert Zemeckis’ first live-action feature in 12 years. Since Cast Away he had worked exclusively in CGI animation, directing The Polar Express (2004), Beowulf (2007), and A Christmas Carol (2009) in relatively quick succession. I was not a fan of Zemeckis’ animated work, and honestly feel that – while he clearly enjoyed exploring the possibilities of motion capture and stereoscopic 3D – his audience would probably have simply preferred two or three features of a quality to match his 1980s and 1990s work.

Flight, which stars Denzel Washington as an alcoholic pilot in crisis, is probably not quite of that desired quality. It boasts some excellent scenes, and some very strong, well-developed acting. At 138 minutes, however, its appeal wears thin, and a poorly considered narrative structure front-loads the action to a poor extent. Washington plays Captain William “Whip” Whitaker, who – while drunk and high on drugs – takes command of a passenger flight from Orlando to Atlanta. Shortly into the flight, the aeroplane loses all power and begins a rapid nose-dive to disaster. Employing a highly risky manoeuvre – in short, he flips the plane upside-down – Whip manages to make a controlled landing saving the majority of the passengers and losing only six people.

To the media, Whip is an American hero. To the National Transportation Safety Board, however, he is the centre of an unexplained disaster, and as their investigation explores the circumstances of the crash the closer they come to discovering Whip’s addictions. Thus, while the film commences with high-level thrills and suspense, it quickly settles to being a profile of an alcoholic refusing to admit his illness.

It is this structure that does a lot of damage to the film’s momentum, since by the end of the first act there is little excitement left to sustain the audience’s attention. The screenplay, by John Gatins (Real Steel, Coach Carter), does not quite manage to pull itself away from common cliches and stereotypes. It picks up somewhat during the film’s final act, but it does not manage to pull off any surprises. The end of the film is easy to predict from its beginning.

The saving grace, then, is in the performances. Denzel Washington dominates the movie, building a character who is interesting to watch but deeply flawed. While the script and direction feel as if they are working to build the audience’s sympathies, Washington acts as if that sympathy is never going to come. In his hands Whip’s disgraceful behaviours do not ask for forgiveness or understanding. It feels like a much more interesting portrayal of addiction than the overall film was intending to give. Kelly Reilly is also particularly strong as Whip’s ill-advised love interest and fellow addict Nicole. It is among the best work I have seen her do, and offers both support for Whip’s character and a palpable contrast with it.

It is the acting that makes Flight worth the watch, and the writing that makes it a struggle. As for Zemeckis? His work lies somewhere in between: it’s a competently framed movie, but a far cry for the filmmaker at his best.