The Final Girls

The Final Girls is a cleverly crafted 2015 fusion of horror and comedy genres. Its unique narrative explores the meta-commentary on the classic tropes and conventions of the horror movie genre. Directed by Todd Strauss-Schulson, the films featuring stars like Taissa Farmiga, Malin Akerman, Adam Devine, this movie offers an enjoyable watch full of scares, laughs, and even a surprising amount of emotion.

The film centers around the character of Max Cartwright (Taissa Farmiga), a teenager who is dealing with the loss of her mother, Amanda (Malin Akerman). Amanda was a one-time actress known for her role in Camp Bloodbath, an 80s cult-classic horror movie that sees a group of teenagers terrorized by a deranged killer at a summer camp. When Max and her school friends are invited to a theatre to commemorate the deceased actress, a series of bizarre circumstances thrusts them into an uncannily familiar and unsettling environment - the world of Camp Bloodbath.

As the line blurs between reality and the cinematic world, Max and her friends quickly realize they are in the campy horror film. They have to follow the movie’s narrative flow and can interact with the 'character' versions of Amanda and her Costars, while the characters themselves are oblivious to their status as fiction. Max's mother, Amanda, is present as an ingénue unaware of her real-world death, complicating Max's emotional turmoil. The film uses this setting not just for humor but also intense, heart-wrenching moments that explore parent-child relationships, grief, and moving on.

The movie killers mirror iconic horror figures, and the characters they torment are aware of the horror tropes—essentially, they find themselves trapped inside a cheesy but deadly horror film they all can quote by heart. The concept of being aware of the “rules” of the horror genre, especially the role of the 'final girl,' the lone survivor of such movies, is brought into the spotlight. The group tries to use their knowledge of the movie plot, the horror genre clichés, and their newfound position as characters to outwit the narrative and survive.

Adam Devine plays Kurt, an exaggerated version of the 'jock' caricature famously associated with the '80s slashers. Accompanying him is an array of colorful characters true to the genre, including the jock’s girlfriend, the nerd, the tough outsider, and the shy heroine herself. Each character brings a unique humor and charm to the narrative.

The Final Girls contrasts dramatic and intense horror scenes with heartfelt, emotional moments characterized by effective comedy. It plays on the familiarity of horror tropes and uses them to deliver unexpected gut-punches of emotion, particularly through the relationship between Max and her mother. The story weaves between the commentary on the cinematic horror genre, grief, and healing.

The movie is stylistically appealing as well. It captures the vintage feel of the '80s slasher films and contrasts it with the modern world. Introducing innovations like slow-motion scenes, the movie visually mimics the narrative's oscillation between scary, hilarious, and sentimental moments. The soundtrack, vintage costumes, and art direction further support the atmosphere.

In terms of performances, Taissa Farmiga's Max carries the emotional weight and believability needed for the role. Malin Akerman impressively encapsulates the dual roles required from her - the dedicated and loving mother, and the gawky scream queen - managing to render both with an emotional depth that gives the film its heart. Adam Devine expertly delivers laughs with his over-the-top portrayal of the brash and overconfident Kurt.

Overall, The Final Girls, while a love letter to the classic '80s slasher flicks, stands as a distinct film that boasts a heart-warming story amidst the blood and gore. It is an entertaining and intelligent horror-comedy movie that uses its meta qualities to enhance the story instead of merely being a gimmick. The film's exploration of grief and loss provides an unexpectedly moving depth, making it a stand-out entry in its genre.