This 2015 film had a limited theatrical release in early October. Shortly thereafter, it hit VOD streaming services, etc, and finally, about a month after all that, it hit DVD and BR. I find it interesting that it did not have a bigger release, as leading up to it, I think I saw its trailer in front of 90% of the movies I saw in theaters. Anyways, this is a meta-horror comedy about a movie within the movie. Does the ambition of the project exceed the filmmakers’ grasp, or does it get inventive and prove to be a funny, good time?

The plot is “Pleasantville”, “Last Action Hero”, and “Friday The 13th” ‘s love child-
Amanda Cartwright (Malin Akerman) is a cult favorite b-movie horror actress, who died three years ago. “Camp Bloodbath 1 & 2” are being given a double feature presentation. Her daughter Max (Taissa Farmiga), attends the screening, as a special guest; she does this as a favor to her best friends, Gertie (Alia Shawkat), step brother Duncan (Thomas Middleditch). For moral support Chris (Alexander Ludwig) shows up, as does Max’s former best friend Vicki (Nina Dorbev). At the screening, the theater catches fire, and our leads slice the movie screen to escape… only to wind up in “Camp Bloodbath”! Here, they encounter the camp counselors of the kitschy 1980s teen slasher- Nancy (Akerman, again), Kurt (Adam Devine), Tina (Angela Trimbur), Paula (Chloe Bridges), Mimi (Lauren Gros) and Blake (Tory N. Thompson). Can they escape the movie and the slasher, Billy Murphy (Dan B. Norris)? Can Max save her mom this time around?

 

While this is not the first movie (or book or TV show, etc.) to go the meta route, and use the same techniques to comment on or poke fun at the target (with love, of course), working from a script by M.A. Fortin and Joshua John Miller, director Todd Strauss-Schulson has crafted a very unique and fun experience. The movie’s prologue and setup- all in the real world- are shot competently, and there are some cool moments and impressive shots; such as the scene which puts the movie theater ablaze, where the soundtrack goes out and we crosscut between Max walking out, the cigarette falling, the movie on screen, and the audience laughing at/ with it. Lots of great tension there, and all that pizazz is before we even hit the stride of the movie. Once Max and friends enter the movie, the creativity and liveliness intensifies, and things get outrageous.

Elie Smolkin’s cinematography is beautiful. While the real world has some cool shots, it really is the Technicolor pop of the movie world that gives the movie life. The intentional “Wizard of Oz” style adds a vibrancy and ethereal look, which adds a nice atmosphere to everything. The number of tracking shots is staggering, and the zoom ins during the prep phase for the big action beat is energetic as hell. The editing by Debbie Berman is great, and the way it all plays into being a movie, with the repeating scenes and mirrored shots, adds to the spiritedness and otherworldly craziness. Gregory James Jenkins’ score is outstanding, and is the cohesive gel that ties all the tones together; it works quite well.

To completely discuss all the ways “The Final Girls” messes around within the confines of “Camp Bloodbath”, would just be giving you the entire script, so here’s a handy dandy list to sum up these things (in mostly chronological order)-

• When our main characters first enter the movie, the counselor van pulls up and asks them the way to Camp Bluefinch. In stunned silence, no one answers, so the van moves on its merry way. 92 minutes later, the exact same thing happens. They tell them to go straight down the road. And then it happens a third time, and not only do our leads tell them the way, they also hitch a ride.

• The modern day folks literally quote lines the cast of “Camp Bloodbath” are saying, as the lines are being said.

• The group of kids that got sucked into the movie can hear the soundtrack playing, so whenever the killer is near, and his theme starts up, they know to run.

• When attempting to run away, instead of cutting to the scene after the one we are watching, our heroes find themselves in a loop which they can’t escape from. So in essence, they are trapped in the movie, scene by scene, until it is over.

• Telling the story of Billy Murphy sets off a flashback, and only the real life people notice that the scenery is melting away; the dissolve cut used in the movie to signify the change of time and place.

• The flashback is used as an escape mechanism from the killer, which is hilarious!

• Slow motion makes the characters question why they can’t move faster.

• Upon learning of their true nature, the camp counselors start to become aware of aspects of moviemaking (ie- Nancy also questions the slo-mo).

• And of course, the use of traditional Final Girl trope, and why certain characters are still alive.

 

Mind you, these are just the ways the fourth wall is broken, and does not address all the little details and touches- the camp counselors think the modern day kids’ clothes are awful, the soundtrack to “Camp Bloodbath” is 90% synth, most of the outdoor scenes in the movie (within the movie) are overexposed, leading to a washed out look in most of those shots- which really is an issue with some of the lower budget junk that got released when “Friday The 13th” become a phenomenon. Murphy’s theme is directly inspired by Jason Vorhees’s music that plays just before a kill in the “Friday The 13th” movies.

 

It’s clear Strauss-Schulson brought a lot of love and a vision to the proceedings. Happily, he is not alone, as the screenplay is ingenious. As detailed above, it does play around with movie-making in some fun ways, but that is only the tip of the iceberg. The lines are sharp and witty, and when called upon, features intentionally cheesy and/ or bad dialogue because, you know, campy 1980s slasher-

Mimi: Anyone want to help me pick strawberries?

Kurt: Nope, but I’ll give you a hand with those melons! Talkin’ about her boobs. You guys get me, right?

 

or this fun bit of horror trope ribbing-

 

Tina: Why do I have to wear all this stuff again?

Chris: Because you’re scripted to do a striptease at the slumber party, and when you take your top off, Billy comes running.

Tina: But why does he hate my boobs? Cuz they’re not big?

 

Neither the dialogue nor the high concept are the script’s best attributes. The first thing that pushes this over the edge from good time to sheer perfection is how cheeky it is with anachronisms. When going through Vicki’s purse, Tina discovers a smartphone, and attempts to put into her cassette player; she is confused as to how and why it won’t fit. I probably love this joke more than I should, but it cracks me the hell up. Then there are the words the counselors just don’t understand, because they weren’t a thing yet, or how the movie makes the most sexist and misogynistic character, Kurt, very interested in Chris’s two dads, and how that subtly changes your view of Kurt upon a second viewing.

 

But the most important thing, and what really makes this worth many a rewatch, is the heart of the story- the relationship between Max and Nancy. Max feels like if she can save Nancy from her written fate, that she could get her mom back.

 

Nancy: You sound like my mom.

Max: I could say the same of you.

 

Farmiga’s acting while saying that line is heartbreaking. We also discover that the movie characters (that is “Camp Bloodbath”) have aspirations and desires, dictated by their backstory and the actors portraying them. Thus, when they learn they are fictional, and they realize those dreams might never be realized, it is quite sad. However, the most heartbreaking moment of the movie is not for me to spoil. It works, and it could very well make you tear up. Akerman and Farmiga’s acting at that crucial moment is perfect.

 

Which is a nice segue into the acting. Adam Devine is funny as hell here, even if he is just doing a variation of his more famous “Pitch Perfect” role. Angela Trimbur plays the typical horror movie sex crazed twit very well, and her Adderall dance is hilarious. Tory N. Thompson is quite likable as Blake, even if he has the most low key role. He still manages to be cute and fun. Lauren Gros and Chloe Bridges have minor roles, as the first to be killed and the original final girl respectively, but make the most of it, and get some laughs. The killer, Billy Murphy, is played by Dan B. Norris, and while he has no lines, he has the deliberate slow movements, and hulking way of walking down pat.

 

Alia Shawkat is sweet as Max’s best friend, and the under the breath way she talks to Duncan is amusing as hell. For his part, Thomas Middleditch is hilarious as the squeeing fanboy, and his enthusiasm for the crazy predicament he and his friends find themselves in is great. Nina Dobrev plays the bitch well and for a while, you are really wishing she would be the first victim. A late confession extracts a decent amount of empathy for her. Alexander Ludwig has a natural easy-going vibe, that makes him quick to relate to and like. This charm plays a big role in buying into his and Max’s relationship, whatever it actually is.

 

As good as the cast is, the movie belongs to Farmiga and Akerman. 90% of Max’s heartache is shown through her body language and facial expressions, and Taissa Farmiga can melt your heart, with just a wide eyed stare and a single tear. She really makes you care for her plight, while still being able to convey her wanting of Chris, and confusion at the situation they all find themselves in. Her chemistry with Akerman is incredible, and in just a few short, early scenes, their love for each other, as mom and daughter, comes out in spades. Akerman, in her dual role, is amazing. As Amanda Cartwright, her wanting to live “Camp Bloodbath” down is relatable. As Nancy, the inner depth and sweetness just exudes from her. If these two actresses weren’t so good, so in character, and so excellent together, the entire movie would fall apart completely.

 

A high concept horror comedy with stylized directing, great acting, beautiful shots, and an emotional gut punch- what more do you want? This is one of my favorite films of 2015! I wouldn’t change a second of the movie, as it is perfect.