In “Final Cut,” the realism that grounded the humor of the original film turns into outright cynicism ... The film’s lazy, anti-intellectual and reactionary perspective is felt in the severe lack of laughs.
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Slack and shambling ... Often hectic and sometimes heartfelt but very seldom funny, “Final Cut” is disappointing because it lacks the boldness of the original, yet even more so because it abjectly foregoes the kind of “fuck it, we’ll do it live!” creative mania that it’s meant to embody. Some of the movie’s jokes are just too well-constructed to fail, but too few of them land hard enough for the movie itself to succeed.
Clever and giddily entertaining ... Hazanavicius is smart enough to apply an if-it-ain’t-broke-don’t-fix-it approach, keeping nearly everything intact except for the language and cast.
Unlike One Cut of the Dead, Michel Hazanavicius’s similar ode to low-budget resourcefulness often rings false.
The result is something appreciably sillier and more eccentric than the original ... It’s certainly far from the sophistication and gloss for which Hazanavicius became famous ten years ago with his silent pastiche The Artist; it’s closer to his spy spoof series OSS 117. But it’s likeable and goofy.
When "Final Cut" works, it's mostly because it just repeats what "One Cut of the Dead" did, and as ill-conceived as this film is, the jokes still land. Of course, that only says more about the success of the original film than this one. The problem is that, outside of the French market, it is hard to recommend this movie to anyone.
For shoestring charm, One Cut of the Dead remains unbeaten, but Final Cut brings off the same hugely satisfying Tetris symphony of emotional and narrative blocks falling into place.
Based on the scrappy Japanese zombie comedy One Cut of the Dead, Michel Hazanavicius’ Final Cut is a more polished version — for better and for worse — but it’s just as fun and self-reflexive, while also leaning into its remake status for a few added laughs.
Final Cut is silly and excessive and completely over-the-top, but it also brings out the lightness and deftness of Hazanavicus’ touch with comedy; the director somehow manages to fling body parts and bodily excretions at the audience for almost two hours, and yet you leave feeling as if you’ve seen a feel-good movie.
Fans of zombie spoofs and films-about-films should enjoy this bauble, which is elevated by the cheery ensemble.