But it’s excellently plotted with pulse-pounding twists that don’t feel forced or out of the left field’s left field (for the most part). It’s a thriller designed to shock and awe, so of course there are some occasionally eye-roll-worthy moments. So, I approached Alex Finlay’s The Night Shift, which also mines ‘final girl’ territory, with a solid helping of trepidation. An excellent concept for sure, but the stilted writing and its flat-out absurd (and at times, problematic) conclusion left a really sour taste in my mouth. after the credits roll and the serial killer is unmasked and/or locked up and/or pushed out of a sixth story window and yet still survives and/or. the sole (female) survivor of a massacre in the style of Hellraiser’s Kirsty Cotton, Scream’s Sidney Prescott, I Know What You Did Last Summer’s Julie James, etc. The clunky, hokey horror-thriller promised a look at life for a ‘final girl’ - i.e. I can’t recall being as disappointed by a book as I was by Riley Sager’s debut, Final Girls.
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