In this movie, Wes Bentley’s character William trains Abigail Breslin’s Veronica for the final mission of taking down a pack of suavely dressed, teenage serial killers.
Sounds cool, right? Well, almost. The characters are almost interesting (the most intriguing relationship being the one between Veronica and William—and we don’t even get enough of that). The dialogue is at times almost smart and at other moments barely tolerable (“live today like you’re going to die tomorrow”).
But Final Girl does get a few things right. For one, the style game is on point. These have to be the most classy serial killers ever portrayed in film. The film is also beautifully shot—blinding spotlights on highlighted characters shifting into poignant shadows and mist.
For all of its disappointments, Final Girl has tremendous potential with the merging between art film and action flick. The most fun part about this film for me was the a-typical action scenes meshed with artful shots: screeching, well-dressed boys chasing terrified girls through shadowy woods, Veronica and William with heads bent together splashed in red powder, fight scenes that jump from reality to hallucination, and so on.
I’d like to see more of this sort of film: thoughtful, gorgeous shots combined with kick-ass characters and all the beloved tropes of action/adventure movies. While nothing to flip out over, Final Girl still offers an interesting and experimental step in the right direction.