The Final Girls (2015)
★★ / ★★★★
With the theater exits blocked and the fire quickly spreading, Max (Taissa Farmiga) comes up with the idea of slashing the screen and leaving through there. Instead of safety, however, she and her friends (Alexander Ludwig, Nina Dobrev, Alia Shawkat, Thomas Middleditch) end up in the movie they were watching—an ‘80s cult slasher flick called “Camp Bloodbath”—and it appears as though the only way to get out of it is to survive until the masked murderer named Billy Murphy (Dan B. Norris) is killed.
“The Final Girls,” based on the screenplay by M.A. Fortin and Joshua John Miller, has creativity coursing through its veins but it is not as fun and fully realized as it thinks it is. What results is a picture that is worth sitting through once, given that one is in the mood for a silly horror-comedy, but it will likely not be remembered ten years from now. This is because it does not push the envelope far enough—whether it be in terms of scares, gore, kill scenes, or more subtle nudges to the slasher pictures of the past.
What stands out is the way it attempts to establish characterization, particularly the relationship between the lead protagonist and, Nancy (Malin Akerman), her dead mother. Genuine human connections and emotions are far too often ignored within this sub-genre and so it is a breath of fresh air that these two characters share scenes we can relate with and hold onto. I was surprised to have felt a certain longing between mother and daughter who have zilch chance of existing again within the story’s “real” reality, only in the fantasy that is the movies.
It works because Farmiga and Akerman are performers who are able to dig from within themselves when necessary and deliver feelings and thoughts beyond the lines that must be uttered. The mother-daughter bond makes the film special, in a way, because even though horror-comedy is almost never taken seriously, the writers dare us to treat it otherwise. Todd Strauss-Schulson directs the more personal scenes with real sensitivity and respect—which I admired because such an avenue is a rarity in horror and horror-comedies.
The weak treatment of the supporting characters is expected but disappointing nonetheless. While all of the actors are game—Adam DeVine is wonderful as his usual manic self—to look however and say anything in order to garner a giggle or a laugh, one cannot feel as though there ought to have been a freshness injected to each their characters. Although the self-awareness runs rampant, it does not strive to go beyond its usual bouquet of jokes. I grew tired of the self-awareness eventually.
At least one really good scare is absent—which is a miscalculation. The best of horror-comedies tend to fluctuate when it comes to its tone—a juggling act among fear, disgust, suspense, amusing one-liners, and laughter that makes the stomach hurt. The majority of this film is composed of amusing one-liners and occasional unexpected turns—which ultimately feels rather flat as a whole.
Still, “The Final Girls” offers a few moments that are strong. It does, however, need to reel in the visual acrobatics—one standout sequence takes place in the beginning and the other toward the end—because these just look silly, crazy, and trying too hard to impress. ’80s special and visual effects may be dated but at least there is a charm about them.