The Final Cut premiered at the Cannes Film Festival.
2017 Japanese Zombie Comedy Knife of the dead So specific in structure and execution that the existence of cross-cultural remakes leads to a head-scratching question: what can artist Could director Michel Hazanavicius use the concept instead of “exactly the same thing, but in French”? As it turns out, Final Cut has a surprisingly straightforward answer in its opening minutes. Ueda Shin’ichirō’s original is a self-reflection for the horror subgenre that’s past its heyday, and while the new film is no different, it also adds a layer of self-awareness to its remake status. Neither movie has anything particularly interesting to say about its chosen subject, but both versions prove to be lighthearted, enjoyable, and — at their best moments — downright hysterical. What’s most surprising about Final Cut, however, is that it’s one of the few modern remakes that has been definitively enhanced by watching the film it’s based on.
Talking about the new release is talking about the two of them, but for the benefit of those who haven’t seen One Cut of the Dead, details that could be considered spoilers will be largely avoided.After all, Hazanavicius’ update – originally named Z (comme Z) in French, later become Coopers! (or clips!) – is a film’s beat re-creation that pulls through the rug of narrative and tonal, switching gears over the course of a third, making for a delightful discovery. However, the nature of this shift may not be difficult to decipher, as the remake also assumes that audiences are familiar with the concept, so it starts to reach out more openly.
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