Oddly enough, I actually enjoyed 'Eagle Eye,' despite knowing that it made no sense; but maybe this just means that I've grown to know standard plots so well that I can make do with half-assed allusions/indications toward coherence.

But maybe, as well, you're missing the point that 'truth in film,' as it were (and I'm not original in this; see Bazin, Deleuze), isn't simply propositional or plot-driven. There are all sorts of different aesthetic phenomenological manifolds going on ... often I don't really care about plot at all, and many great films don't care so much about it either.