Though ostensibly successful 2009’s The Final Destination represented to many a horror franchise on its last hackneyed legs. Rote uninspired and humorless it scored a (modest) hit only by virtue of the novelty -- and added ticket price -- of its 3D transfer. Two years later Final Destination 5 arrives with a slightly tweaked formula a beefed-up storyline actors you might actually recognize and genuine honest-to-goodness 3D. It’s still schlock mind you -- but artful schlock and a marked improvement over the preceding entry.
The story begins in familiar fashion with a cursory introduction to the characters followed by a grisly premonition that sees them perish wholesale. An assortment of cubicle-dwellers at a paper factory are being bused to a corporate retreat when one of them Sam (Nicholas D’Agosto perpetually bug-eyed) dreams of a massive bridge collapse in which he and his co-workers are impaled beheaded bisected crushed by cars singed by tar -- however many ways a suspension bridge can kill a person the film’s opening set-piece explores it gruesome detail. Sam awakens duly horrified and demands the bus be evacuated. Seconds later the employees watch in horror from the sidelines as Sam’s vision comes to fruition.
You know what happens next. One-by-one death stalks the survivors who meet their fate in a series of elaborately-staged incidents. Some are relatively straightforward; others involve fiendish head-fakes and red herrings. The range of victims is older and more colorful than in previous Final Destination films in which death preyed exclusively on attractive nubile teenagers but the end result is invariably the same. (Not to give anything away but those considering acupuncture or laser eye surgery would be wise to avoid the film entirely.) As death’s scheme becomes achingly evident Sam his lachrymose girlfriend Molly (Emma Bell) and his increasingly unhinged buddy Peter (Miles Fisher) become increasingly desperate. Enter the ever-ominous Tony Todd returning to the franchise after (wisely) taking the previous film off offering a potential way out. But is it genuine or just another of death’s cruel tricks?
Director Steven Quale a James Cameron protege hired principally for his 3D expertise takes full advantage of the added dimension delivering some of the most vivid and immersive 3D sequences in recent memory. Unlike The Final Destination which seemed little more than a amalgam of crude one-liners Final Destination 5 feels like a real movie one with a discernible plot an element of suspense and a handful characters who are more than just punchlines. Most of the actors are surprisingly competent save for Fisher a credible doppelganger for Tom Cruise (he parodied him 2008’s Superhero Movie) who imbues every line with couch-jumping intensity.
Final Destination 5 ends with a twist that while genuinely unexpected feels like a Hail Mary for a franchise that can’t forestall its inexorable descent into stale irrelevance despite the best of efforts from Quale. Its trademark formula has simply lost its potency -- a problem no amount of cosmetic upgrades however welcome can fix. That the film is bracketed by two pointless and time-consuming montages -- the first an animated sequence that hurtles various hazardous objects at the audience the second a greatest hits compilation of memorable kills from previous Final Destination films -- is a telltale sign that the saga’s creativity is on life support. Perhaps it’s time to pull the plug.
Source: The Hollywood Reporter
Remake is, apparently, his middle name. Breck Eisner, who won kudos for his chilling re-imagining of George Romero's The Crazies earlier this year, will next set his sights on John Carpenter's beloved Escape From New York, says The Hollywood Reporter.
The remake has been a top priority for the New Line (WB), which picked up the rights in March 2007, with Gerard Butler attached to star and Ken Nolan writing the script. The project then veered into development hell, losing Butler but amassing a penal colony of writers, among them Jonathan Mostow and Allan Loeb, and collecting then losing director Len Wiseman. (Neal Moritz has remained producer throughout the process.)
Eisner's boarding should bring redo back on track as New Line, sticking with the Loeb draft, tries to mix an origin story for anti-hero Snake Plissken and merge it with the story of the 1981 original.
On who should take over the famous eye-patch now that Butler is gone, we're officially endorsing Jeffrey Dean Morgan, a current Warner Bros. favorite and emerging star who's work in the genre, from last years Watchmen to this weekend's release The Losers, makes him a dependable choice for the role.
Walter Hamada and Sam Brown are overseeing for New Line.
WHAT’S IT ABOUT?
Carbon copying the already overly convoluted idea from the previous Final Destination movies the latest worst installment continues on the theme of one unlucky twentysomething being able to predict who’s going to die and when; this time it’s Nick. After attending a NASCAR race with his girlfriend Lori and their friends Hunt and Janet Nick has a premonition about an elaborate horrific accident that threatens everyone present. Naturally it comes true — and even though plenty of people die in the stands Death (you know the bogeyman) has only just begun. But Nick realizes that he might be able to save the survivors of that day by remembering the order in which they're supposed to die and warning them of their imminent demise. Unfortunately though not everyone believes him and they carry on with their dangerous activities ... like going to a hair salon or — gulp! — through a carwash.
WHO’S IN IT?
Up-and-coming actor Bobby Campo plays the main pretty young thing and he makes the best of what is ultimately an untenable and God-awful role to have to accept. Still fresh faces capable of pulling off his part are a dime a dozen and Destination’s past leads like Mary Elizabeth Winstead at least left us feeling their fear. Supporting actresses Shantel VanSanten as Lori and Haley Webb as Janet are there for little more than eye candy and ear-shredding screams while former MTV 'It' dude Nick Zano as the obnoxious clichéd — and obnoxiously clichéd — Hunt can’t even provide the occasional comic relief for which he was brought on. The lone bright spot comes courtesy of an evidently desperate-for-work Mykelti Williamson (aka Bubba in Forrest Gump) who plays a widowed security guard adding a shred of cred to the otherwise disposable cast (which includes a barely there Krista Allen).
Clocking in at a mercifully brisk hour and 15 minutes the makers of TFD find one way to not essentially call us stupid: They know we want our scares quickly and they deliver — except for actually scaring us. Aside from its running time the aforementioned credible performance by Williamson is literally all the movie has going for it.
Wow where to begin? Destination another in a loooong line of wholly unnecessary sequels is riddled with problems — from the are-you-kidding-me? “special” effects (even in 3-D) to the jaw-droppingly horrendous writing. Director David R. Ellis (helmer of the infinitely better Final Destination 2) should bear much of the blame. He seems uninterested in delivering anything that people go to the movies for; this Destination is nothing more than tenuously connected scenes of video-game-like deaths that try to one-up each other. And not one of the sequences is even mildly suspenseful or scary — just disturbing in the sense that some people will actually smirk in earnest at the cartoonishness of it all.
The writing though is the real culprit. Eric Bress’ (also an FD2 alum) script is incredibly unimaginative merely recycling similar but better executed scenarios from the three previous movies and swapping out the settings. With ideas so bad Bress makes it abundantly clear that there’s no inane death massacre left to explore at this point; it's basically a metaphorical surrender. And yet the dialogue is even worse — with stock stereotypical block characters muttering it to boot.
LEAST FAVORITE SCENE?
Not to completely give it away — lest we make the movie predictable! — but one of the death scenes is just so far beyond ridiculous that it transcends even sarcastic laughter. Hint: It involves water and it’s about midway through the movie … if you dare stay that long.
Even if you’re not a cinephile and you couldn’t care less about things like character depth and plot development and you’re looking for a very quick thrill The Final Destination is well beneath you. It makes recent straight-to-DVD releases look like fully coherent masterpieces. Whether in 3-D or 2-D it’s a mustn't-see!
Dave (Barry Watson) Adam (Michael Rosenbaum) and Doofer (Harland Williams) make up the social committee at Kappa Omega Kappa (KOK get it?) a chauvinistic fraternity that chastises women based on their looks. But when the evil KOK president frames them for the theft of fraternity funds the trio suddenly find themselves out on the street. They must now find a place to stay on campus until they can clear their name and get back into the fraternity's good graces. Until this point the film almost makes Freddy Got Fingered look relevant. Then the three protagonists throw on women's garb and join the sorority Delta Omicron Gamma (DOG get it?) which just happens to be in the middle of a membership drive. At least now it gets funny. For the rest of the film Dave Adam and Doofer become Daisy Adina and Roberta and find out what it's like to wear eyeliner heels and be less than desirable. Admittedly there are some laugh-out-loud moments interspersed in this inane comedy; when a fellow sister enters the guys' room and asks if any of them has a maxi pad because she has soaked through all of hers Adina laments to his friends: "We're not supposed to see what's behind the curtain." Although most of the jokes in this pic are blatantly stereotypical I have to admit that when Adina is elated to find the dress he wants in his size on the sale rack I knew where he was coming from.
Barry Watson has gone to extremes to shed the good boy image of Matt Camden which he has portrayed on the WB's 7th Heaven since 1996. In Sorority Boys Watson plays "the pretty one"--Daisy. His performance however is bland and despite starring in this raunchy comedy Watson still comes off as the angelic one who falls in love with the brainy girl in glasses. On the other hand Michael Rosenbaum (Lex Luther on the WB's Smallville) is hilarious as Adam/Adina. You feel bad when he gets laughed at on campus and almost vindicated when he hurls a rock through the windshield of a car filled with idiots. Harland Williams completes the trio as Doofer/Roberta the sensitive one that bonds with his sorority sisters. His character is probably the least original one but Williams still has some of the funniest scenes in the film. Unfortunately Doofer is not much different from the characters Williams portrayed in Freddy Got Fingered and Half Baked. The head of the DOG sorority is played ably by Melissa Sagemiller(Soul Survivors). Sagemiller's character has a sweet earthiness to her and is not your typical bombshell made ugly by frumpy clothes and glasses.
With Sorority Boys Wally Wolodarsky delivers a totally unspectacular movie rife with crude humor and tasteless jokes. However I didn't find myself particularly bothered or offended by the film because it satirizes college fraternities which in my opinion are chauvenistic and elitist to begin with. In the film's opening sequence for example the KOK president is getting ready to punish pledges with something that involves Crisco and hamsters. Crass yes but isn't humiliation what hazing is all about? Perhaps it is in bad taste but I laughed when Roberta admits he is addicted to porn during an all-girl support session and I laughed even harder when it's his turn to clean the bathroom and he yanks a massive wad of hair out of the drain. "It's like a Wookie man!" he exclaims followed by a hilarious impression of Chewbacca. Sure there are some not so funny moments (the duel with dildos is just plain dumb) and their plan to clear their names is completely implausible. But why shouldn't we appreciate a good laugh at the Greek system's expense once in a while? The film would have been frighteningly realistic had the three boys not learned a valuable lesson at the end.