Good morning, dear believers, and welcome to U Aughta Know, the section dedicated to the decade that has now passed from two full decades. It is indeed time to look back on one of the most missed decades of terror. Follow me as I do everything in my power to chronologically investigate the names of the atrocities that formed the 2000s.
It was the first St. Patrick’s Day of a whole new millennium, and while many certainly participated in a night (or two or three) of drunkenness, the child of destiny hinted with a soul that their honey was deceiving them, and many titles lost in the flow of time were at the top of the table; I mean, does anyone remember Bruiser on TV or Tough Cookie, as they were supposed to read? Nevertheless, a movie was released in the cinemas that would be the beginning of a very successful franchise. X-Files came partly from the success formula of the new game Scream, the story of death and horror, which fits the role of a teen scream. That’s right, we were on our way to our final destination.
The Final Destination, originally called Flight 180 and written in a much shorter font, is an idea by Jeffrey Reddick, originally written in a more compact format and conceived as a possible X-Files episode. After reading the story of the woman who canceled the flight after her mother felt she didn’t want to get on the plane and crashed the next flight, the idea of the missing death was picked up and developed further. Reddick had a relationship with the New Line cinema, he had already given them a prequel for the Elm Street nightmare they loved, and he was convinced that he would bring the idea to life and try to sell the New Line on it as a feature film. It’s obvious it worked.
New Line became enthusiastic about the idea and went back to the then very popular teenage format, touring with some standard drawings of slusher movies, but at the same time stirring up a lot of anxiety. Reddick helped write a full concept of the script before the writing team of Glenn Morgan and James Wong were called in and Wong was put in touch with the director. In the end, he would become a pretty powerful team behind the scenes and Reddick would write for years in this genre, while Wong and Morgan would work on a number of other horror films, including Black Xmas, Willard and even the third shot of the Final Destination series.
Now we all know the story, don’t we? Alex, embodied by the heart of teenager Devon Sava straight from Idle Hands, has a hunch that the plane with her school class is going to explode to France and that after the fight seven passengers will be evacuated and survive the explosion. Now Alex slowly realizes that they were doomed to die, and Death doesn’t want to throw that fact overboard, and now it haunts the survivors and kills them in several terrible accidents.
Today the Final Destination series is known and popular in the community, but as far as the franchise is concerned, it is similar to Saw; although many of them are funny and even good movies, the pressure to make more intense, dynamic and extensive sets was great, and sometimes the charm was lost in these moving parts. In its frankness, the Final Destination presents itself as a mansion (even if a fifth is more rooted) because it is the house that is most closely connected to reality. By taking advantage of the usual fear of running away and creating a wide range of deadly dreams, the most extravagant scene in our film is still a widespread fear in many people. Where our sequel will probably create the most effective harbinger scene, the shots that follow will be just as big, if not bigger, then at least less realistic, and will be lost in the scale of things rather than in the general context of fear of the multitude of spectators.
With the final destination everything was indeed perfect. They used a cast of attractive and talented teenagers and their immediate environment to play the main characters. Sava is now a household name, while Ali Larter, who plays in Clear, has entered the eyes of a teenager just because of the Varsity Blues. Kerr Smith stood at the center of Dawson’s Creek, and Sean William Scott came out of a hugely successful American cake. For some a horror of self-confidence was added, they chose the role of veterinarian Candyman Tony Todd to prepare for this exciting freshness and the comic name of William Bludworth, the undertaker who is essentially a human manifestation of death. And they were very pleased with the idea of the Rube Goldberg machines to create intelligent death machines.
Now! Wait! Wait! Wait! Wait! Wait! Wait! That’s why this movie is so smart, so fucking smart, so fucking honest with its looks: They created death from the normal course of events. The things you surround yourself with every day have become your killers in the world of Final Direction. Like those random stories you read where someone was killed by the real dominoes that fell in their place.
It’s really brilliant, isn’t it? It’s so disturbing, so awful, so cunning. Designer John Willet has praised you for making this film a disturbing experience, and it is precisely because of the distortion of elementary norms that the film captures the heart of mankind and holds it to the end. Blurred colours, which are never completely square in a scene, are forced to prospect both vertically and horizontally. These tricks have been used to create such a tension in us without being shamelessly provoked. It’s genius.
Playback of this film on the screen like a tilt machine also does wonders for the film. We feel that we are looking at the same game of cat and mouse, but instead of the masked aggressor, here we have the primitive power of the universe, which seems both completely ethereal and almost tangible. When scenes are staged, we become early detectives, turning our heads to uncover evidence and determine which death pattern was established before our heroes experienced their untimely death. Reddick, Wong and Morgan, they were all wondering if I recognized the signs. Could we have heard the scary song, seen the warnings, picked up the clues? Suddenly we’re not trying to remember who the killer is, because we already know he’s everyone’s ultimate aggressor: Dead. Now we’re just trying to figure out what it all does.
The final destination always holds up incredibly well. He mixes supernatural and nightmarish horror in a way that hasn’t happened since the nightmare of Elm Street and has almost never happened again. With four suites (and the fifth should be on its way) the first part is still a cult suite in the horror rooms.
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