An airplane caught in turbulence moves both as a whole body and as a flexible structure, Pettit said: “It’s sort of mind-blowing, the number of ways an airplane can bend and twist.” To compensate for all that jouncing and twisting, the flight-control software uses the plane’s sensors to calculate the force and direction of the wind. Then it moves the flaps on the wings and tail to counteract the pressure. “Say the airplane is bending like a yardstick,” Pettit said. “The elevator”—the horizontal flap on the tail—“can move to oppose that. Or the rudder will stop it from moving side to side.” If the plane heaves up, the spoilers can press it back down. If it drops, the wing flaps can lift it up. If it starts to roll, the ailerons can right the ship.
In one of the film's most shocking sequences, the pair cut loose at a posh party, upsetting the formal veneer with a furious explosion of movement. Others will be possessed by the Mary Shelley spirit, compelled to join in, creating a feral and fun flashmob. Yes, seeing Frankenstein's monster dancing is reminiscent of Young Frankenstein, but just when you think that might be a nod to the Mel Brooks' classic, Bale bellows out, "Putting on the ritz!" There is no doubt. Gyllenhaal isn't winking at her references; she's smirking at us with a wide-open mouth, ready to yawp.
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