been called the "Eagle Eye Freefall Experience". While official cast listings do not list the name of the actress behind the mysterious voice featured in the film and trailers, Rosario Dawson confirmed at the Hollywood premiere that it belongs to Julianne Moore. Reception Box office Entertainment Weekly predicted the opening weekend could be as high as $31 million. The film grossed $29.1 million from 3,510 theaters in the United States and Canada, taking the number one position at the box office. The film went on to gross $101.4 million in the United States and Canada and $76.6 million in other territories for a worldwide total of $178 million, against a production budget of $80 million. Critical response On Rotten Tomatoes, the film holds an approval rating of 26% based on 183 reviews, with an average rating of 4.70/10. The site's critical consensus reads, "Eagle Eye is a preposterously plotted thriller that borrows heavily from other superior films." Metacritic gave the film an average score of 43 out of 100, based on reviews from 28 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale. Roger Ebert of the Chicago Sun-Times gave the film two out of four stars, saying: "The word 'preposterous' is too moderate to describe Eagle Eye. This film contains not a single plausible moment after the opening sequence, and that's borderline. It's not an assault on intelligence. It's an assault on consciousness." James Berardinelli of ReelViews gave the film one and a half stars out of four, saying: "This movie tests the viewing public's tolerance for enduring crass stupidity when the payoff is a series of repetitive, ADD-infected chase scenes. Director D.J. Caruso does a moderately good job of hiding how incredibly dumb this screenplay is by keeping things moving at such a whirlwind pace that a lot more seems to be happening than actually is. In reality, the chase scenes don't mean anything because they don't advance the plot—it's mice on a treadmill, running and running and not getting anywhere." The Hollywood Reporter called it a "slick, silly techno-thriller" and "Even those who surrender all disbelief at the door will be hard pressed not to smirk at some of the wildly improbable plotting." Josh Rosenblatt of The Austin Chronicle enjoyed the film, calling it "good, manic fun plus a heavy dose of