The
Final Girls,
A 'Bloody' Valentine to '80s Slasher Fans
By Jonas Schwartz
Characters have been stepping into movie
screens since projectionist Buster Keaton jumped into a contrived mystery movie
in Sherlock
Jr. Woody Allen most lovingly utilized the convention in The
Purple Rose of Cairo when Depression Era Mia Farrow and adventurer
movie character Jeff Daniels took turns sharing the real world and the celluloid
world with each other. Now, Todd Strauss-Schulson brings this concept to the
horror genre in a hysterical spoof of the "dead teenagers" movies
with a cast that those Friday the 13ths could only dream of.
Teen Max (Taissa Farmiga, American
Horror Story: Murder House and Coven) lost her mother (Malin
Akerman, TV’s Trophy Wife) in a freak accident three years prior. Now on the
anniversary of her mother's death, Max is forced by friends to attend a
screening of a cult classic that her mother once starred in, Camp
Bloodbath. Due to a fire, Max and her friends escape though the screen but
inexplicably land INSIDE the horror film.
Max and her friends Duncan (Thomas
Middleditch), Gertie (Alia Shawkat), Chris (Alexander Ludwig) and Vicki (Nina
Dobrev) stumble around the familiar campgrounds, mingle with future victims
with archetype personalities (nerd, tramp, man-whore) and come face-to-face
with the heartless murderer, Billy Murphy, and his sharp machete.
Wes Craven's Scream was revolutionary
because for a change, the victims had seen horror movies, had grown up with the
conventions, and were armed with survival tactics. But The Final Girls cunningly
takes it to the next level. Max and the gang haven't just seen movies like the
situation they're facing, they've seen THIS SPECIFIC FILM, over and over. They
know where and when Billy will strike and how he will die. Unfortunately, their
first plan, to force the counselors to not partake in sin and to hang with the
final girl of Camp Bloodbath, a tough streetwise Paula who is supposed to
eviscerate Billy with his own weapon, goes up in smoke, along with the alleged
final girl. With Paula dead, all bets are off and our wily friends need to
think of new maneuvers to end the invincible Billy.
M.A.
Fortin and Joshua John Miller's screenplay toys with conventions and both have obviously
studied every nuance of the films they tribute (Miller has stakes in the horror
genre as a child. He played the protagonist's son in Halloween III: Season of the
Witch and the eternally youthful vampire in Near Dark). The modern
day heroes are unprepared for movie tricks. They find their life repeating
itself every 92 minutes (the length of Camp Bloodbath), they get trapped in
a black/white world of flashbacks, and are even handicapped during a chase due
to slow motion. The jokes told by the
victims, particularly snarky Adam DeVine as the camp lothario, are
appropriately lame, while the real world group observes and comments on the
horror principles. Max and her friends see credits roll and hear the Harry
Manfredini-inspired (stolen) Friday The 13th theme motif before
Billy strikes.
What
makes The Final Girl so lasting is that the filmmakers refuse to go
just for laughs. The script touches the heart in unexpected ways. Max is not only amongst characterless victims
and a machine-like monster, she gets to spend time with Nancy, a shy country
girl with a clipboard and a guitar who is supposed to die after losing her
virginity to the camp stud. Nancy is not just a random fatality, she's the
character Max's mother had played in the movie.
Now Max gets a second chance to keep her mother safe even when her
friends try to remind her Nancy is neither real nor actually her mother.
Director
Strauss-Schulson pays homage to all those so-bad-it's-good slice and dice
movies like The Burning, Sleepaway Camp and the territory of
Jason Voorhees. But he visually and thematically evokes memories of The
Wizard of Oz. The camp’s outdoors are sprinkled with bright colored
flowers and inviting forests where a girl just wants to leave a fantasy world
to return home. Max, like Dorothy Gale, is an orphan. She takes her spiritual
journey with a group of friends but in the end must lean on herself to succeed.
Strauss-Schulson’s
color schemes, mostly primary colors, are so extreme, they conjure up the films
of Wes Anderson or the moodiness of David Lynch. Often, counselors wearing yellow
will walk through red lit rooms with blue fog seeping in. The Technicolor world
where Max has landed is so stylized it could only resemble Oz or the cartoon
world of Walt Disney.
The
cast is pitch-perfect. The Camp Bloodbath acting is wooden and
trite, but performed by talented actors, like DeVine, who instead of winking at
the audience, play the roles as they imagine amateur low budget actors would
have in the '80s. Skawkat and Thomas Middleditch,
who both come from cult TV comedies, Arrested Development and Silicon
Valley, respectively, are adept at modern satire. Dobrev, also from TV
in her first major role since leaving six seasons of Vampire Diaries, revels
as the resident mean girl, but one self-aware that she's acting out and falling
into the paradigm of a '80s horror movie victim.
The film belongs to Farmiga and Akerman, though.
Their chemistry is loving and supportive and makes the script shine. Farmiga,
who always captures teenage angst such that audiences empathize with, grounds
this zany film with earnestness and compassion.
The Final Girls may not be as
twisty as Cabin In the Woods or as laugh-a-minute as Shaun of the Dead, but the creators, avid slasher
enthusiasts, have built a mousetrap that will delight fans as an homage and
send-up to a most notorious genre.
Jonas Schwartz is a voting member of the Los Angeles Drama Critics, and the West Coast Critic for TheaterMania. Check out his “Jonas at the Movies” reviews at Maryland Nightlife.
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