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Final Destination-2000

Final Destination-2000

Director James Wong

Starring Devon Sawa, Ali Larter

Scott’s Review #1,186

Reviewed October 16, 2021

Grade: B

Following the commercial success of Wes Craven’s Scream in the mid-1990s, the horror genre was once again a hot ticket item.

New Line Cinema capitalized on this financial goldmine by creating the popular Final Destination franchise in 2000.

Five films were created in total.

The Final Destination films all have the same premise. A small group of people escapes impending death after one individual sees a sudden premonition and warns the others about the mass-casualty accident that is about to happen.

Their luck is unfortunately short-lived.

After avoiding their foretold deaths, the survivors are systematically killed off one by one in bizarre accidents caused by an unseen force creating complicated chains of cause and effect.

There is no way they can cheat death, and the bastard will have his way with them.

The upside is that the deaths are highly creative and oodles of fun for the bloodthirsty horror viewer to feast upon. Instead of a knife-wielding maniac, the protagonist is an evil force, which at the time was a neat little add-on that made the film unique.

The victims are mainly teenagers or twenty-something characters, who are the target audience for these and most other horror films.

In Final Destination (2000), high school student Alex Browning (Sawa) is about to embark on a fabulous senior class trip to Paris. A group of his schoolmates joins him.

Just before takeoff, as the group settles in for their eight-hour journey from New York to Charles de Gaulle Airport, Alex has a premonition and sees the plane explode moments after it leaves the ground.

Alex becomes unruly and insists that everyone get off the plane, and seven people, including Alex, are forced to disembark. All watch as the plane explodes in an enormous fireball, killing everyone on board.

He and the other survivors have briefly cheated death, but will not be able to avoid their fate for very long. One by one, these lucky survivors fall victim to the Grim Reaper.

I have seen each one of the Final Destination films and enjoyed them all. Typically, the first film is the best, but I argue that part 2 is the best, but that is irrelevant to this review.

The premise is extremely clever and instantly absorbing. Instead of the dated “final girl,” one assumes that Alex will be the last survivor, and that may or may not be true, as a twisted game of figuring out which order the seven survivors will be killed is based on their seating arrangements on the flight that nearly drives Alex mad.

It’s the perfect engagement for the viewer.

As a clue, director James Wong, who co-wrote the screenplay, creates stock characters like the dumb jock, Carter Horton, with the muscle car, played exceptionally well by Kerr Smith, and the douchey Billy Hitchcock (Seann Williams Scott).

There is a teacher and FBI agents thrown in for good measure, so it becomes obvious who is going to be killed off.

The fun is watching them get killed. Delicious deaths like being run over by a bus, embedded by flying knives, and a good old-fashioned decapitation by flying shrapnel are to be enjoyed.

The final sequence, ironically set in Paris, is exceptional as three survivors are left, and they feel safe. They are not safe at all, as one of them suddenly realizes, resulting in a clever final kill, followed by sudden end credits.

This is narrowly usurped by the brilliant plane crash premonition scenes as Alex teeters between reality and premonition.

The plane explosion is highly effective and is shown from inside the fuselage. The visual effects, which used a miniature Boeing 747, are wonderful to watch with heart-racing detail and excitement.

At times during Final Destination, the action lags, and Ali Larter, who plays Clear Rivers, is not the greatest actress. Her silly battle with electric sparks while sitting in a car is not the film’s finest sequence.

Final Destination (2000) is a fun popcorn film with some admirable, unexpected turns. It stays true to the horror formula while offering some unique additions that feel fresh.

It’s a roller coaster ride meant to be enjoyed and not overanalyzed. The innovation suitably balances the fun.

Lady Bird-2017

Lady Bird-2017

Director Greta Gerwig

Starring Saoirse Ronan, Laurie Metcalf

Scott’s Review #700

Reviewed November 28, 2017

Grade: A

Lady Bird is a 2017 independent film released by actor-turned-writer/director Greta Gerwig. It is a tremendous effort in her solo directorial debut.

No stranger to the indie syndicate herself, Gerwig puts her unique stamp on the film with a rich, female-centered perspective that works quite well and seeps with charm and wit.

It is worth noting that the story is semi-autobiographical, based on Gerwig’s life and her stormy dealings with her mother. The story is well-written, well-paced, and empathetic as the audience views a slice of life through the eyes of a restless yet kindly teenager on the cusp of womanhood.

Saoirse Ronan gives a bravura performance in the title role. Her given birth name is Christine, but she defiantly changes it to Lady Bird in a show of adolescent independence, and much to her parents, Marion and Larry’s (Laurie Metcalf and Tracy Letts ) chagrin.

Christine lives in suburban Sacramento, California, and yearns for a more exciting life in New York City, far from what she considers Dullsville, USA. Now, in her senior year, she is attending a Catholic high school.

Christine applies to college after college, hoping to escape her daily dilemmas. Christine’s best friend Julie and somewhat boyfriend Danny (Lucas Hedges) are along for the ride.

The period is 2002- shortly after 9/11.

The brightest moments in Lady Bird are the plentiful scenes between Christine and her mother. The chemistry between Ronan and Metcalf is terrific, and I genuinely buy them as a real mother/daughter duo, warts and all. They fight makeup, get on each other’s nerves, fight, cry, do makeup, etc.

I especially love their knock-down drag-outs, as each actress stands her ground while allowing the other room to shine—feeding off of each other.

My favorite Metcalf scene occurs while she is alone. Having gotten into a tiff with Christine and giving her the silent treatment while Christine flies to New York, Marion reconsiders as she melts into tears. At the same time, she drives away, regretting her decision and missing her daughter already.

Metcalf fills the scene with emotional layers as she does not speak- we watch in awe as her facial expressions tell everything.

Comparably, Ronan—likely to receive her third Oscar nomination at the ripe old age of twenty-three (Atonement, 1997, and Brooklyn, 2015, are the other nods)—successfully gives a layered performance as a teenage girl struggling with her identity and restless to see different worlds and get out of what she sees as a bland city.

Of Irish descent, Ronan is remarkable in her portrayal of a California girl- sometimes selfish, sometimes sarcastic, but always likable and empathetic.

The casting from top to bottom is terrific, as the supporting players lend added meat to the story. Christine’s best friend, Julie, played by young upstart Beanie Feldstein (Jonah Hill’s sister), is compelling as the lovable, chubby, and nerdy theater geek.

Letts is perfect as Christine’s father, depressed at losing his job in the tough economy and having to compete with young talent as he sees his career slip away.

Legendary actress Lois Smith adds heart to Sister Sarah Joan’s role- a by-the-book nun who is an incredible old chick.

Finally, Hedges, seemingly in every film from 2016 to 2017, is emotionally resounding as Danny, Christine’s troubled boyfriend, struggles with his sexuality.

Gerwig does it all with this film—she directs and writes, scripting laugh-out-loud moments and eliciting heartfelt emotion from her enchanted audience.

A hilarious scene occurs as Christine attends a dreary class assembly- an anti-abortion-themed one- by a woman who almost did not exist but for her mother’s decision not to have an abortion.

When a bored Christine icily points out that had the woman’s mother had the abortion, she would not be forced to sit through the assembly, it is a laugh-out-loud moment.

Lady Bird (2017), thanks to a fantastic writer and director and superlative casting, is a film that has its all heart, emotion, humor, and great acting.

The film is intelligently written and forces the audience to embrace its characters quite willingly. Gerwig carves a story, perhaps done many times before in film, but with a fresh and energetic feel.

Oscar Nominations: Best Picture, Best Director-Greta Gerwig, Best Actress-Saoirse Ronan, Best Supporting Actress-Laurie Metcalf, Best Original Screenplay

Independent Spirit Award Nominations: 1 win-Best Feature, Best Female Lead-Saoirse Ronan, Best Supporting Female-Laurie Metcalf, Best Screenplay (won)