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Original title: Final Cut, The
Release Date
• USA: Oct 15, 2004
DVD Release Date
• R1: Mar 22, 2005
BoxOffice: $0.5M
Official Website:
The Final Cut Website
MPAA Rating
Rated PG-13 for mature thematic material, some violence, sexuality and language.
Running Time
1 hour, 45 minutes
Country Canada, Germany
Production Companies
Lions Gate Films Inc., Final Cut Productions, Cinerenta Medienbeteiligungs KG, Industry Entertainment
Studio Cinetheta, Industry Entertainment, Lions Gate Entertainment
More info on IMDb.com
Other Titles
• The Final Cut (2004)
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Genre: Thriller, Sci-Fi, Psychodrama, Futuristic
Tagline: Every moment of your life recorded. Would you live it differently?
Plot: Omar Naim's futuristic science-fiction story generates many mysterious, alluring, and thought-provoking questions about memory, surveillance, and the ethics of personal privacy. Set in the future, THE FINAL CUT offers a vision of a world where soon-to-be parents agree to let doctors surgically implant memory chips into the brains of their unborn children. These memory chips are like video cameras with infinite tape stock that comprehensively record the lives of their hosts through the hosts' own eyes--for better or for worse. When a host dies, a "cutter"--played here by an eerily introspective Robin Williams--receives the memory chip footage from the deceased person's family in order to edit the memories for a palatable funereal screening, called a "rememory." But are memories public or private? Is it fair for a cutter to decide what comprises a host's life story? And do people behave differently knowing that someone will view their lives, even their most intimate and discreet moments, as a short film? THE FINAL CUT's use of sharp and furtive handheld camera footage to depict the perspective of memory, set in contrast with the evenly measured cinematography of the rest of the film, constantly foregrounds the medium of film as memory-capturing and memory-making device. With an
More Plot Descriptions
 Discussion forum for this movie
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This debut from writer-director Omar Naim is cut-and-dried sci-fi thriller business, trading on the notions that memories are erasable and that someone's life can be seen and understood as so much video footage. It feels very predictable.--Desson Thomson (Washington Post)
Yet another film that plays it safe and suffers as a result, only the consistently good performances from two well-known thespians keep ‘The Final Cut’ from the cinematic trash bin.  --Joe Rickey (Movie-Gurus.com)
This could have been a great Sci-Fi film. Sadly, Naïm's Final Cut is a big disappointment.  --Volker Briegleb (CultureDose.net)
A better film exists in Cut, one that spends more time on the assorted moral issues raised by Naim’s premise. Here, the director juggles some enticing threads, then chooses the least interesting one to follow through on.  --Sean O'Connell (FilmCritic.com)
Yet the plot creaks with wild coincidences, spotty writing, and twists that fail to thrill so much as make the audience groan in the face yet another cliché instead of pondering one of life’s most tantalizing mysteries. --Andrea Chase (Killer Movie Reviews)
The main problem is perhaps unavoidable in a premise as unusual as this. Leaps and gaps in logic combined with a degree of funeral-home dreariness make it hard to buy Hakman's plight and stay connected to the movie.  --Jami Bernard (New York Daily News)
...started off with an excellent premise, but ultimately just went very generic, didn't really fulfill the numerous more interesting possibilities brought up by its concept and made you feel sorta empty inside, when all was said and done. 5/10--'JoBlo' (JoBlo.com)
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When a character remarks near the end that "some things are best forgotten," she could be talking about this dreary, unexciting thriller starring a funereal Robin Williams as Hakman, the world's best "cutter."  --Lou Lumenick (New York Post)
Pressing on in grimly introverted One Hour Photo mode, Williams only stirs nostalgia for his slapstick days (ghastly '90s roles notwithstanding)—he's such a natural-born ham he manages to overdo understatement.--Dennis Lim (VillageVoice)
Nominally a work of science fiction, The Final Cut never lets the razzle-dazzle of special effects take center stage. Instead, first time writer/director Omar Naim uses the high-tech stuff as just one more color in an already rich palette. The result is a polished, understated, well-made movie that, despite some dud storylines, strikes a perfect tone and tells an engaging story. B--Jeff Wilser (TheCinemaSource)
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