Final Stab has many winning elements but is incapable of using them properly. Each of its strengths is ruined because of a major detail.
First of all, everyone possesses remarkable beauty and physical form, an incredible hairstyle and an awesome car. The problem is that we know nothing of them other than with whom they are sleeping. Exception made of Charlie, Angela’s boyfriend, each of the eight guys shares the same shallow personality. Accordingly, we feel little or no sympathy for those who die.
Furthermore, one of the things for which we either congratulate or denigrate director David DeCoteau in most of his productions is his tendency to continually feature nude men, replacing the role historically held by women. It is about time that someone thinks about it and performs the first steps. Sadly, David DeCoteau also feels the need to integrate homosexuality in a situation where the viewer should first be familiarized with the inversion of roles. The only discussion subjects taken seriously by the characters are Charlie’s traumatism and homosexuality. They even make fun of death. Everything has its place, its time, its development route, its dosage but this director doesn’t excel in either one of these criteria.
Then, there is the killer. He doesn’t represent anything new. He wears black, exception made for his white mask, kills most of his victims with his trusty knife and remains silent. Because Angela’s sister had hired an actor dressed in the same costume as the murderer, it would have been innovative to see two murderers roam: the authentic and the amateur. At first, this is what we believe will happen.
Cut had attempted it all, to its demise unfortunately. Under good supervision, everything is possible. The killer will be unmasked at the very end of the film, in manner comparable to Scream but without the same style and tact. We are thrown the long and usual motive: the main reason why the assailant never succeeds in these films. It’s up to you to guess if an exception is made here. The culprit even gives us two or three explanations, half-joking, in case the real motive doesn’t make any sense… thankfully.
Fortunately, the image is soft, professional; the dark setting of the night doesn’t harm the film thanks to nuances of the subtle lighting. The scenes are cut properly and let us feel the violence even when not a single drop of blood is visible. The visual aspect is without a doubt what enhances this film that, just like its characters, takes itself for something it is not.