Hacker Cinema
Final Destination
2000 · Film · 98 min
Part of Final Destination Collection
Directed by James Wong
After a teenager has a terrifying vision of him and his friends dying in a plane crash, he prevents the accident only to have Death hunt them down, one by one.
1 positive1 negative2 mixed4 neutralfrom 8 commenters
Where to watch
No streaming data for this title.
8 comments on Hacker News
>I was almost taken out by two rogue kayaks being towed behind an oblivious truck driver.
Wow! That's some luck!
Movie night suggestion: Final Destination 1 and 2
A plot line literally out of a Final Destination movie (the newest one). MRI machines are scary!
To some extent, those sorts of motifs are a dramatization and personification of death itself. A very real threat that's usually rather immaterial and conceptual, cast as something you can see and touch. And that can chase you down an alley.
Nothing got you today. But something might have! And something definitely will sooner or later. It's always lurking, it doesn't rest, it's relentless in its mission, and it can strike at any time. If it hasn't taken someone you love, just wait, it will—in fact, it'll take everyone you love, eventually, if you stick around long enough.
You see similar use of the unstoppable-killer with marked victims (achieved via copycats and other trickery in Scream, but it's the same idea) for the purpose of representing other fears, traumas, or threats that have a degree of universality and don't tend to entirely go away, as in It Follows. You see this whole thing made perhaps a bit too on-the-nose in works like Final Destination—which is why, I think, you can have endless unstoppable-knife-guy movies and they may retain some appeal, but a little bit of a "cute" very-literal twist on the formula like Final Destination goes a long way; the world only needs so much of that, much as a joke that subverts a particular standard joke-form only works once or twice before it stops being amusing.
The fun thing about the Scream series, when the movies remember it, is that the killer's emulating this fictional trope of an unstoppable and possibly-supernatural-but-not-omnipotent killer on purpose, in "real life", which is good fodder for creative narrative, twists, and well-earned winks at the camera. The movies are meta not because they've arbitrarily chosen to be (though they do choose to lean into it, of course) but because they aren't about these kinds of fictional unstoppable-personification-of-death killers directly, but about "real people" doing the unstoppable-personification-of-death thing in "real life", in imitation of film (even in the first one, before the idea of copycats hunting the survivors entered the picture, there's a particular thing done in order to imitate not just a human knife-wielding killer, but specifically this kind of wholly fictional, unkillable death-dealer).
Actually, as with Final Destination, this is another thing the world only needs so much of, for similar reasons—I'm not sure the market would support a much greater rate of release for this kind of film than we already see. It's not as immediately-played-out, though, less of a one trick pony.
I find Netflix editing a joke out of Final Destination, which isn't a Netflix film in any way, to be far more egregious. I was surprised they could even do that legally - I assume it was done with the parent studio's permission.
The first Final Destination movie starts with a ground observer scene of about that distance of a plane crashing right after takeoff.
I don't know whether your age fits, but maybe you saw this and recalled it in your sleep every so often.
Is every day like the movie Final Destination for you?
Since we're sharing anecdotes... I also have a gmail address with a fairly common name.
1) I've received a bunch of Fw: emails from an Australian person over the years that I ignored as spam. Until he sent a very personal one, inviting me to catch up over beers since it's been so long, at which point I took pity and replied along the lines of "Hello! This is not the address of who you think it is. You're emailing the wrong person. Have a nice day." To which he replied "Lol, nice one!" Eventually the emails stopped.
2) I received a message from a major American company that if I didn't take action urgently, something or other would happen to my requested service. Ok, fine. Then within the next 5 months I've received at least half a dozen emails from them titled "FINAL WARNING: ...", stressing just how important it was for me to acknowledge it. I suspect the company is run by the people behind the Final Destination films or the Final Fantasy games.
It wasn’t always this way. Films like Rosemary’s Baby, Night of the Living Dead, and pretty much the entire Hitchcock collection were some of the most iconic films of their times.
In my opinion, the popularity of the late 70s to 80s slasher films (Friday the 13th, Nightmare on Elm St, Texas Chainsaw Massacre to name a few), combined with studios’ ever-shrinking tolerance for risk, resulted in a particularly bland few decades of mainstream horror, with the well-known Saw franchise and, to a lesser extent, the somewhat satirical Final Destination series as typical examples of the era. Personally, I’m partial to the Evil Dead films, Army of Darkness most of all. Groovy.
Horror can be excellent when done well, and pathetic when done poorly. It is easy to go for cheap scares and bloody massacre scenes. There is a lot to dislike about modern horror films that can turn off audiences looking for more than jump scares and blood splatter. If I hadn’t dated a girl in college who was super into the horror genre, I would have never gotten into it.
Horror is best when it floods you with an emotional high that lasts long after the initial shock. For a most masterful example, try playing Silent Hill 2, if you dare.