Flight 7500 Reviews
Sono sicuro che nella trama molti di voi troveranno qualcosa di famigliare.
Sono sicuro che nella trama molti di voi troveranno qualcosa di famigliare.
After an intro of repetitive shaking and cuts to black, the film cuts to a shot of the plane which is so obviously CGI that it is painful. It's hard to figure out what's more ridiculous; the fact that someone actually thought it would be convincing or the fact that Takashi Shimizu couldn't even acquire a piece of stock footage depicting an airplane sitting on the runway. Perhaps it is just in preparation for the fact that none of the other CGI in the film ends up looking any better. The production design may fit that of an airplane, but when it's this obvious that there is no actual flight process happening it becomes more difficult to believe. If 7500 actually had no exterior shots of the plane, it would be all the more convincing. Alas, that is not the case.
Soon after the poor production values of 7500 become apparent, a collection of countless stock characters begin to board the plane. Interestingly enough, there is an odd selection of names in the cast. Among the more notorious are Scout Taylor-Compton who portrayed Laurie Strode in Rob Zombie's Halloween films (2007, 2009) and Jerry Ferrara who portrayed Turtle in Entourage (2004-2011). Jamie Chung from Sucker Punch (2011) joins the journey, and audiences may also remember Alex Frost for the time that he shot up a high school in Gus Van Sant's Elephant (2003). YouTube sensation Ryan Higa even gets a cameo. But perhaps the most memorable cast member in 7500 is Nicky Whelan who for a second time in the one year appears in a low-rent film about a flight disaster with the other being the Golden Raspberry-award nominated Left Behind (2014). She is memorable because she portrays a one-dimensional character so repetitive and frustrating that the annoyance becomes ingrained in the memories of anyone paying attention to the film. This is the "ensemble" cast of the film, none of whom have any interesting characters to play and none of whom manage to act above the low-rent television movie standards that 7500 manages to continuously adhere to. I just couldn't help but be reminded of the popular disaster movie Airport (1970) and how the standard for casting in that film was recognized by the Academy Awards. 7500 simply borrows the formula and camp nature of Airport and transfers it into the modern day with no production values or care for the actors.
But the most frustrating thing about 7500 is that it's so difficult to tell where the source of the horror actually comes from. If audiences can handle the cheapness and thin characters of the film, then the story is bound to be its downfall. The entire tale adheres to a conventional formula, yet it has no idea how to justify itself being a disaster film. With a meticulous pace, audiences have to watch the actors hardly even pretend to care about their characters as they drone on and on with expectedly terrible screenwriting. Throughout this entire experience, it becomes difficult to remember that audiences are watching a horror film. It's not until past halfway into the film that anything horror-related in 7500 begins to become apparent. Audiences are likely to spend so much time trying to understand the source of the horror that they will find themselves bored and confused in an experience which should be scary above all else. And then out of nowhere we are given the realization that it is Japanese horror mythology causing everything. Like a deux ex machina plot device in a fantasy story where everything is restored to peace and harmony by the ways of a wizard, 7500 expects its audiences to simply accept out of the blue that some kind of mysterious Japanese force is creating death and smoke on the set of a plane. Perhaps audiences are expected to accept this because Takashi Shimizu is the director, but given that the film is little more than a stock standard American TV movie there is no point in pretending that one minor aspect of the story being Japanese-influenced makes any difference whatsoever. Nothing is actually done with this plot point because even though it is an arbitrary attempt to stir up mystery, it ends up having essentially nothing to do with the rest of the film. There's a half-assed connection in there somewhere, but there's nothing about the film strong enough to inspire viewers to try and make any sense of it.
Soon after this plot point presents itself, we actually do experience a deux ex machina. Without giving it away, 7500 manages to cram in a plot twist which explains the lacklustre plotting and thin scripting that lead up to the conclusion. It doesn't justify it, it just explains it. 7500 has the kind of plot twist that could have been really iconic and powerful if it played out in a film which actually had any dramatic grounding or characters worth caring about. Instead, it just got wasted on a directionless melodrama which builds up to nothing and ends up with a disjointed execution. The ending to 7500 seems to exist independently from the rest of the narrative, as if the creators spent their entire time putting together a series of horror movie cliches in a disaster film, got past the first hour and then suddenly realized that the film actually had to have some kind of ending. They seem to have turned to M.. Night Shyamalan in this case who reached into his mysterious bag of twist endings and forwarded one to Craig Rosenberg to tack it onto his script. It is strapped to the script without any coherence or sensibility before descending into an even more confusing epilogue. 7500 is simply a senseless twist ending with no story behind it, and it is so bereft of any other redeemable qualities that it might as well have been Kirk Cameron's next star vehicle because at least that way it would be more enjoying to mock.
With a formulaic yet senselessly convoluted narrative surrounded by one-dimensional characters, a slow pace and an obvious lack of thrills, 7500 is a flight that never takes off in the first place.
The cast is solid, but none of them were used to their full potential and their characters were underdeveloped so you couldn't really connect to anyone really, at least to me. The natural charms of the main cast though, made the viewing experience not a complete torture to watch, but it's still a shame that their talent is wasted in this generic effort.
Director, Takashi Shimizu has met a roadblock with his weakest effort to date, 7500. This could have been his scariest film since the original The Grudge, but compared to that film this one's a dud, definitely uninspired and half-baked and a missed opportunity with its setting. Writer, Craig Rosenberg who recently worked on the superior The Quiet Ones, pretty much underwhelmed me with this lackluster scrip. The script didn't grab me and I lost interest here and there and was just unriveting and less than original. Nothing to write home about.
Overall, the ridiculously long wait was a waste of time, because frankly 7500 was probably DOA from the very beginning and should have gone straight to redbox. The cast did their best and were likable, but the weak script did them no justice, and the twist has been done numerous of times before that the reveal was far from effective. There were some creepy scenes here and there and some black humor, but not nearly as suspenseful, scary and entertaining as it should be when it comes to aviation terror. Don't bother with this one.