Overall, Takashi Shimizu’s (The Grudge, The Grudge 2, Ju-on: The Grudge–see a trend here?) Flight 1750 is a pretty decent horror movie that’s interested more in the slow-burn approach to film making, as opposed to how much blood (CGI or otherwise) can be splashed about.
And that’s not a bad thing because Shimizu knows his way around a camera, and how to choose shots that for the most part add to the story he’s trying to tell, as opposed to being there for no other reason than they happen to look pretty.
Initially you can’t tell which way things are going, but the director has the movie firmly entrenched in the world of J-Horror, but it’s done subtly enough that you aren’t initially sure what type of horror movie that it is.
And that’s a good thing because the typical J-Horror tropes (female ghosts with long, creepy hair, pasty-skinned dead children, etc) are nowhere to be found, all of which don’t wear particularly well.
That’s not to say that I thought movies like the The Ring or The Grudge movies weren’t particularly good–far from it–but I also think that, while they’re both initially shocking, it doesn’t particularly last.
In other words, repeated exposure doesn’t make the heart grow fonder.
Shimizu, I think, understands this, so while many ideas typical to films of this nature are still apparent, they’re used very knowingly (and often sparingly).
For instance, there’s scene where Brad Martin (Ryan Kwanten) is watching an episode of The Twilight Zone on the flight. What’s hilarious is that the episode is Nightmare at 20,000 Feet, which I feel reasonably confident saying no airline in their right mind would show during a flight (unless they’re really into irony).
Which I am reasonably sure Takashi Shimizu knows, so he uses the episode as a marker to show that things are really about to get weird.
As I implied, overall it’s a good time though there are instances where he virtually hits you over the head with the idea that something is strange is going on, which a more subtle approach would have been more effective in terms of amping up the suspense.