As some of you have already noticed, I re-posted a review of All the Boys Love Mandy Lane earlier this month, with more contemporaneous thoughts about the film (as much as two years’ worth of reflection allows, at any rate), so I don’t have much more to add. It’s strange how the intervening years (Jonathan Levine made the film before the smartphone was a regular presence in the life of teenagers) make Mandy Lane more “quaint” than it would be otherwise: the choice in music and many choices in editing resemble any of the CW-style “modern” slasher film, but the lack of always connected, social networking makes for strange bedfellows.
It’s a modern horror movie that isn’t quite modern enough, and not enough of a “throwback” (as loathe as I am to use that term) to feel different. I understand why people aren’t responding to it now, but I’m curious how it would fare in the height of remake-mania seven years ago. I apologize again for not spoiling the end of the movie – this is the third time I’ve brought up All the Boys Love Mandy Lane without directly addressing the ending of the film. To be honest, it’s why I like the movie, and why I think people interested in Final Girls as a horror trope would find it worthwhile. If this gives you any hint to how it ends, Mandy Lane would have beaten Scream 4’s “twist” to the punch by five years, and only been behind High Tension by a year. It’s a newer, if under-examined, development in Final Girl theory.