Final Cut Review – IGN

Its final scene proved as divisive as the first movie.

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Then again, this comic oversight also stems from the limitations of its work. As a repurposing of something conceptually hyper-specific, a more rigorous imitation of the international remake may also require a more radical departure from the material. Instead, Final Cut found a reason to wink to follow the original rather than take a more novel approach. In the process, it self-reflected to justify its erroneous view of the global film landscape, despite commenting on it on numerous occasions. However, when it occasionally misses targets, the fact that it masks its own untapped potential hardly makes up for it.

While the buildup was a bit shaky, its final scene proved just as divisive as the first film; it even surpassed it in some ways despite drawing inspiration from the same comedy. It loses its originality, but gains tenfold through Alexandre Desplat’s mischievous electronic soundtrack and deft use of framing, editing, and body language that make the original comedy scene even more absurd. Its professional timing is enhanced by injecting an almost melancholic coherence that turns what was already raucous and farce into schadenfreude (and eventually something close to saccharine).

On the other hand, what it reaped through glossiness and professional execution ended up in a way that betrayed the micro-budget ethos inherent in its plot and film crew characters—a ethos reflected in the original’s combative, cheap execute. While One Cut of the Dead cost 3 million yen (just $23,000) to make, Final Cut is directed and produced by an Oscar-winning filmmaker and features movie stars who have garnered critical and commercial acclaim over the years ( A common dynamic for remakes) it avoids contact). It’s not a loser’s work by any means, so its self-referential tale of loser guerrilla filmmaking can’t help but feel at least a little hollow, even though it clearly likes the format.

Ultimately, the Final Cut is both a love letter to independent filmmakers and a specific ode to One Cut of the Dead. A common argument in remake conversations is how new releases are often justified because of their potential to draw attention to their respective originals. At one point, that seemed to be the explicit intention, so even if it didn’t turn out to be so surprising, raucous and fun, it might have been well spent.