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Top Ten Final Girls to Watch Before Seeing “The Final Girls”

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The latest meta-horror-comedy, “The Final Girls,” will be released this fall—and the trailer and title give us the impression that the movie will not only be a fun tribute to the ’80s slashers, but will also offer some commentary on cliché horror conventions. And the title references one of the most talked-about horror tropes of all: the final girl. Other meta-horror movies like Scream, Cabin in the Woods and Behind the Mask: The Rise of Leslie Vernon have weighed in on the final girl phenomenon, although never actually calling her the “final girl.” The term comes from critic Carol Clover’s Men, Women and Chain Saws, a book analyzing gender roles in horror movies.

The final girl, by Clover’s definition, is the last surviving character of a horror film. She’s the girl who survives the killer who has murdered her friends, sometimes even fighting back, and in Clover’s words, she “looks death in the face” and “lives to tell the story.”

Clover’s analysis of the final girl, first published in the late ’80s, has been an extremely influential film theory over the years. The rise of the final girl marks a shift in perspective in slasher movies that moves us away from the viewpoint of the brutal murderer to focus on the “victim-hero” protagonist. The analysis is rich and complex, with tons of power-struggles, repressed sexuality and phallic-symbol weaponry thrown into the mix. The final girl has been praised as a strong female icon, criticized for being desexualized (she’s often a virgin, sometimes a virgin with an androgynous or boyish name) and debated over for years. But she’s always seemed to draw our attention.

With the release of “The Final Girls” on the horizon, here’s a list of some of the most influential final girls to grace our screens over the decades.

 

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  1. Alice Hardy (Adrienne King)
    Friday the 13th (1980)
    Alice lays low for much of the movie, leading up to the climactic ending when she finds her friends’ bodies and the killer is revealed. Alice’s final scenes are the most beloved of the original movie. She beheads her attacker in glorious slow motion and just when she thinks she’s safe, we get and interesting final shot of her boat on the water. She doesn’t make it far into the sequel, but she fights like hell in round one.

 

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  1. Kristy Cotton (Ashley Laurence)
    Hellraiser (1987), Hellraiser 2 (1988)
    Like many classic final girls, Kristy is an innocent young woman in a corrupted world. While her relatives sink lower into corruption and cenobite-infested hell, Kristy gets tied up in the trouble while trying to look out for her cuckholded father. She accidentally summons Pinhead and his gang while playing with their puzzle box, but ends up escaping hell with all of her magically non-frizzing miracle curls intact.

 

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  1. Sally Hardesty (Marilyn Burns)
    The Texas Chainsaw Massacre (1974)
    The original final girl. She was the first starring female to escape her movie alive and the character that inspired Clover to write about final girl theory. Sally was subjected to one of the gnarliest dinner scenes ever filmed, hit with a hammer, chased by our most known and loved chainsaw-wielding maniac and jumped through a window. Sally may not have escaped with all of her sanity intact, but she did what it took to survive.

 

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  1. Erin (Shami Vinson)
    You’re Next (2011)
    Erin is an almost too-perfect final girl, but an effective one just for that reason. Starring in a self-aware horror movie, Erin represents the complete opposite of the typical horror movie victim. Erin never loses her head, has a plethora of survival-skill knowledge and starts fighting back at the earliest opportunity. You’re Next flipped the subgenre of home invasion horror on its head, all because of Erin’s character.

 

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  1. Ginny Field (Amy Steel) Friday the 13th
    Part 2
    (1981)
    Ginny stands out in final girl history because she didn’t just run faster, scream louder or even fight harder—Ginny actually outsmarted her killer. The psychology student expresses some empathy for Jason Voorhees early on in the movie and she has enough insight to realize that he must have some serious mommy-issues. In their final showdown, Ginny poses as Mrs. Voorhees to control Jason and keep him from attacking her. The risky move works out in her favor.

 

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  1. Ellen Ripley (Sigourney Weaver)
    Alien (1979)
    Although technically not a perfect fit for the “slasher” subgenre, Ripley is widely considered to be one of horror’s finest final girls. Ripley is a tough, ruthless fighter when she needs to be, but still has a soft spot for saving kids and cats. Also notable about Ripley is how many of her battle scenes seem to be girl-on-girl, with the most monstrous creature from Aliens being an alien mother.

 

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  1. Vanita “Stretch” Brock (Caroline Williams)
    The Texas Chainsaw Massacre 2 (1986)
    The sequel to The Texas Chainsaw Massacre opened to mixed reviews. Tobe Hooper amped up the comedy here, creating one of the earliest self-aware, meta-horror movies to exist. Stretch was a new kind of final girl. She didn’t just escape—she also kicked some ass along the way. Clover noted how Stretch saves herself after her would-be rescuer, Texas Ranger Lefty, epically fails. Similar to Sally, Stretch also was invited to dine (or be dined on) by the cannibalistic Sawyer family, and was Leatherface’s first crush to boot. Plenty of weapons-as-phallic-symbols imagery in this one. But Stretch comes out on top.

 

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  1. Laurie Strode (Jamie Lee Curtis)
    Halloween (1978)
    Laurie was the first final girl to fight back and one of the most iconic in the genre. Jamie Lee Curtis played a number of final girl roles, but Laurie is by far the most well-known. This classic final girl stabs Michael Myers with a knife and a coat hanger to protect herself and the kids she’s babysitting. Dr. Loomis steps in to deliver the final blows (and lines) but it’s Laurie’s plight that sticks with us.

 

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  1. Nancy Thompson (Heather Lagenkamp)
    A Nightmare on Elm Street (1984)
    Clover called Nancy the “grittiest” of the final girls. In the documentary on making the Elm Street films, Never Sleep Again: The Elm Street Legacy, Robert Englund himself said that Freddy saw Nancy as a “worthy adversary.” In Nancy’s final scenes of the original, she plans an elaborate defense against Freddy Krueger. She booby-traps her house and even full-on tackles the slasher to bring him out of her dream and into her world to fight him on her own terms.

 

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  1. Sidney Prescott (Neve Campbell)
    Scream (1996)
    A meta-horror classic, Scream not only put slashers back on the public radar in the late ‘90s, but it did it with self-aware style. Sidney was meant to be a final girl, perfectly fitting into the conventions of the trope at some points and notably breaking those conventions at others. One of the toughest, most no-nonsense stars of the genre, Sidney didn’t rewrite the rules of being a final girl—she threw them out the window.

 

Honorable mentions:

Taylor Gentry (Angela Goethals) Behind the Mask: The Rise of Leslie Vernon (2006)

Francine Parker (Gaylen Ross) Dawn of the Dead (1979)

Dana Polk (Kristen Connolly) Cabin in the Woods (2012)

Valerie and Trish (Robin Stille and Michelle Michaels) Slumber Party Massacre (1982)

Suzy Bannion (Jessica Harper) Susperia (1977)

Mia Allen (Jane Levy) Evil Dead (2013)

 

 

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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