If you’re trying to find a nostalgic throwback to the Giallo films of the 1970s and ‘80s, then you needn’t look any further than The Last Matinee. Assuming that you are already familiar with the genre, you undoubtedly know the various tropes that lay therein. As an avid fan, I know that I do, and was pleasantly surprised to see many of them being proudly put on display here. Even without doing any prior research into the film, the influences behind it were quite clear. This is precisely because a lot of these aforementioned conventions were present. The second feature film to be directed by Maximiliano Contenti, The Last Matinee feels like a love letter to celebrated Italian horror filmmakers like Dario Argento, Mario Bava, and Sergio Martino. So, when it comes to his artistic inspirations, Contenti wears his heart on his sleeve – a trait that I personally believe to be highly admirable.

Following the horrifying events that transpire in a movie theatre one dark and stormy evening, the story of The Last Matinee is your standard fare for most projects of its type. You have a mysterious lunatic who stalks an isolated setting, systematically picking off different characters as the plot progresses. Eventually, only a few of them remain and they must find a way to overcome their knife-wielding foe before they end up being nothing more than additional notches on his belt. It’s essentially the template for hundreds of other productions, but don’t allow this to dissuade you; the execution is flawless, which more than makes up for the plot’s overall lack of originality. 

While there are many reasons that The Last Matinee stands out as one of the better medium-budget horror films of the year, I feel that the audio department is particularly deserving of my specific praise. The sound proves to be the real star of the show, adding an incredible atmospheric presence to the entire movie. All of the minute details, right down to the crackling of the candy wrappers, are immaculately crisp, creating a truly immersive effect for the viewer. When coupled with the ambitious cinematography, which includes a stunning opening sequence shot over the rooftops of Uruguay, it demonstrates a technical prowess not often seen in contemporary genre cinema.  

Overall, I would say that The Last Matinee is guaranteed to be a hit among fans of other Giallo and Slasher titles. While the plot isn’t notably different from that of similar films, it doesn’t necessarily need to be. After all, the whole philosophy of the source material is an emphasis on style over story – and if there is one thing this picture has in abundance, it is style. So, with that in mind, allow me to congratulate the filmmakers on a job well done. Bravissimo, gentlemen, and keep up the good work!  

8 out of 10