| Director(s) | Todd Strauss-Schulson |
| Principal Cast | Taissa Farmiga as Max Malin Åkerman as Nancy / Amanda Alia Shawkat as Gertie Alexander Ludwig as Chris Nina Dobrev as Vicki Thomas Middleditch as Duncan Adam DeVine as Kurt Angela Trimbur as Tina Daniel Norris as Billy Murphy |
| Release Date | 2015 |
| Language(s) | English |
| Running Time | 91 minutes |
After losing her mother, Amanda, in a tragic accident, Max and a group of her friends go to a fan screening of the popular Camp Bloodbath, a Friday the 13th ripoff Amanda starred in decades before. However, during the screening things go awry and Max and her friends find themselves trapped in the world of the slasher movie with no explanation as to how they got there or how to get out. Faced with no other option, the group is forced to play along with the narrative to find a way back to the real world.
Now if the synopsis didn’t make it clear enough, this is a movie that’s a love letter to 80’s slasher movies, especially those from the Friday the 13th franchise. From Camp Bloodbath’s “KiKiKi MaMaMa”- based parody theme to the increasingly caricatured acting from the fictional movie’s cast, every trope you know and love is here and is ready to be celebrated. However, what sets the movie apart from other slasher comedies is the emotional center that serves as the movies main through line. The story opens on Max and Amanda and demonstrates just how much the mother-daughter duo depends on one another. The latter, having been typecast as sexy bimbo who gets killed due to her involvement with the slasher cult hit, is desperate to find a role that will let her be a real star, while the latter fawns over her mom while dealing with tasks like managing the bills. Watching Amanda dies it’s clear that Max’s world is shattered and Farmiga conveys her characters grief by going from bubbly and filled with life to desolate and lethargic. That’s why her journey into a movie where her mom was a star hits so hard – it’s her chance to reunite and deal with the trauma in a moving, albeit unconventional way.
It’s this emotional center that elevates the usual slasher formula into something that gets you to cheer for the characters success because even the stock caricatures get an extra level of depth due to their humanizing connection to the actual actors. Max relating to her Amanda’s character Nancy reminds us that there’s an actor hiding behind every character that seeps and pervades through the representations we see on screen. This makes the clash between the “real” life characters – Max, Gertie, Chris, Vicky, and Duncan- and the movie’s characters – Nancy, Tina, Amanda, and co. – enthralling because they twist the perceptions we have of stock characters and gives them a chance to show us something more. It also injects the movie with a healthy dose of existential humor as the Bloodbath characters are forced to reckon with their fictional makeup in contrast to something more “real”, begging the question of what reality even is.
It’s this playing with reality that gives the movie its unique comedic angle, setting it apart from the sea of slasher comedies that have come to inundate the market post Scream. Duncan, the Camp Bloodbath super fan, acts like the Randy of the movie and explains the worlds tropes and plot mechanisms – there’s a final girl who happens to be a virgin, people die when they have sex, and so on – while giving the audience the perfect nerd to cheer alongside. He helps the group determine the rules of the movie-turned-reality so that they can break and manipulate them to figure out a way to get out. Max and co. realize near the start of the movie that they can’t leave the story without playing along in a comedic scene that shows the Camp Bloodbath staff driving by the characters every 92 minutes (the run-time of the in-universe movie). Waiting just introduces another playthrough, so they’re forced to take action.
As they become more familiar with the way slasher conventions work, they engage in some pretty ingenious mechanisms to bypass typical scenes to increase their chances of survival. On the flipside, some of their experiments don’t work out as well which introduce some bleak, yet hilarious moments that keep the audience constantly guessing as to what the next step is going to be. The result is a movie that plays along with our expectations while subverting them at every turn. The more you know about slashers, the more fun you end up having because the game becomes guessing how the trope will be subverted instead of witnessing the trope happening.
In an attempt to highlight this constantly changing perspective, the movie makes wonderful use of a constantly moving camera. There are quite a few arc shots (where the camera moves steadily in a circle) that highlight the absurdist nature of the movie’s narrative, reinforce the idea of the characters being stuck in loops of sorts, and constantly highlighting the juxtaposition of the story of Camp Bloodbath against the injunction of real life characters. One of my favorite moments in the movie involves a characters getting brutally killed after thinking they’re safe as the camera starts turning in a circle and zooming in highlighting just how wrong they actually were. The movement keeps us as disoriented as the characters and adds another layer of empathy as we realize that neither us or Max and co. know exactly what’s going on.
Complimenting this visual vertigo is the narrative whiplash that occurs as modern “real” people interact with outdated 80’s slasher stereotypes and dive beneath their personas. Homophobia and sexual objectification meet their modern match which allows the movie to lampshade its baser fun with bits of commentary. In one scene, Kurt, the prototypical jock/sex fiend, makes some bigoted jokes to Chris which are quickly shot down by the latter’s more open worldview, but the presence of a challenge to the retort forces Kurt to delve deeper (not that much) into what he actually thinks. Moments like these between the different intersections of characters allows the movie to relish in its homage while making comments on the side without ever coming off as too obnoxious or on the nose.
It helps that every single member of the star studded cast nails their performances, with special kudos given to the Camp Bloodbath members who are forced to play both a caricature and a deconstruction of those same stereotypes as they figure out their true metaphysical makeup. DeVine nails the contemptible player persona from the laid back and confident posturing to the arrogant smirk he keeps on his face. Meanwhile, Trimbur makes the slutty, sexy girl who typically dies first far more energetic and expressive than she has any right to be by injecting a manic ton of energy into contorting her body and facial muscles. Being the emotional center of the movie, both Farmiga and Ackerman bring a surprising amount of tenderness to the story, displaying a real sense of vulnerability with one another. There are moments in the third act that tug at the heartstrings because of how believable their real and fictional bond is built up and played out. In particular, Ackerman nails the fictional character realizing that they’re both real and not real with some expressions that exude fear and love simultaneously.
The only things holding the movie back are some less than stellar CGI elements along with some story moves that feel like they should’ve paid off in bigger and grander ways. The movie plays so well with sub-genre conventions that the presence of such overt and modern digital effects feels completely out of place.
If these were a one-off occurrence it’d be fine, but these issues crop up enough during the run-time to feel like an issue. Given how clever the movie is with playing with sub-genre conventions, I was surprised that these moments weren’t rendered with cheesy and over-the-top practical effects to keep with the 80’s slasher energy. Adding to this is the soft rules approach the movie utilizes to keep the pace going. As I mentioned earlier, the tropes that are recognized are subverted in ways that aren’t expected which keeps an underlying sense of mystery and tension at bay, but because there are no clear and fast rules there are definitely some moments that just come off as odd. The movie can just explain them away as anomalies like everything else, but that comes off feeling lazy with how intricate other scenarios play out. If these moments were capitalized on and explained in the context of the story or breaking certain tropes, the movie would’ve felt more cohesive and tightly knit.
That being said, what we get is a heartfelt, clever, and truly funny movie that any slasher fan should give a watch. Every character feels distinct and interesting, despite the fact that some of them are walking caricatures, and watching their inevitable clashes among one another is constantly entertaining. Even though it’s comedic, the movie wants to be more than just funny and constantly combines its humor with epic visual compositions and narrative shifts that demonstrate just how much love went into the worldbuilding. The riffing and appreciation of sub-genre tropes plays well with the way they’re subverted and gives the movie a constant energy that should keep you invested from start to finish.
REPORT CARD
| TLDR | The Final Girls shows that horror comedy very much has more room to explore in its ingenious design. The story of characters getting trapped in a slasher movie explores and relishes in genre conventions, while at the same time upending them to great effect. The effect is a dark absurdist comedy with an emotionally resonant center that keeps the otherwise fantastical elements feeling grounded, yet entertaining. Horror fans – slasher fans especially – should check this love letter to the sub-genre if they haven’t already. It’s sure to entertain and leave you wanting more. |
| Rating | 9.1/10 |
| Grade | A |
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