In the darkest regions of the Earth, the dreaded Mole People plot to destroy the Art of Cinema as we know it. Unable to enjoy the cinematic classics that we above-dwellers take for granted, the Mole People have dedicated all of their resources and diabolical efforts to destroying our faith in film out of some misplaced hatred for the art-form, using their human servants to pollute the cinemas with their purposefully terrible films in hopes that we will abandon the medium that they themselves cannot understand nor enjoy.
Although he is not their most prolific human-puppet, director Greydon Clark has, nevertheless, proven himself to be a more than dependable servant of the malign Mole People, with his 1984 revenge-film ‘Final Justice’ serving as undeniable proof that Clark is among those Hollywood directors whom call the Mole People their masters.
Starring Joe Don Baker as Deputy Sheriff Thomas Jefferson Geronimo III (and no, that is not a joke), Clark’s ‘Final Justice’ is the story about a no-nonsense Texas lawman (as if there were any other kind of Texas lawman) who is forced to escort his partner’s killer, Italian mobster Joseph Palermo (Venantino Venantini ) to Europe, only to lose his man in Malta. Although he’s told by the Maltese Chief-of-Police to return to the United States and allow him and his men to apprehend Palermo, the improbably named Texas Sheriff decides to stay behind and get his revenge on Palermo.
Built upon a wafer-thin plot and starring a portly-built actor, Greydon Clark’s ‘Final Justice’ is the type of film you’d expect to get from the man whose cinematic crimes against humanity also include the abysmal and mind-numbing ‘Angels’ Revenge’ (1979) which, much like ‘Final Justice’, possesses all of the signs and hints of being a Mole People production.
Most telling (and mind-numbing) about Clark’s ‘Final Justice’ is the strange, cyclical nature of the film’s plot, which follows a precise pattern after Geronimo/Baker’s arrival on Malta:  Geronimo chases after Palermo in a poorly executed chase sequence  Geronimo loses Palermo through his own incompetence or lack of skill  Geronimo gets hauled in by the Maltese police and yelled at to go home  Geronimo goes back to chasing after Palermo (and failing to capture him). This sequence of events occurs no less than three times during the course of the film, and its repetitive nature almost seems to be specifically designed to numb the audiences’ collective consciousness into a state of semi-comatose tedium.
Like some demented Mobius-strip of monotony, ‘Final Justice’ steamrolls along and provides the audience with little to no variation as Baker incompetently pursues his quarry and fails miserably at it, all the while director Clark assaults the audience with one superfluous element after another in a vain attempt to disguise the monotonous and mediocre nature of his demented film. Long sequences of untantalizing strippers, gratuitous violence that is neither shocking no repulsive, a cast of villains who possess incomprehensible accents and characterization as deep and nuanced as Snidely Whiplash, all of these and other elements are thrown recklessly into the mix in a poor attempt to hide the film’s true nature, but those familiar with the machinations of the dreaded Mole People will have no difficulty identifying this film for what it truly is.
Poorly executed, poorly acted, poorly assembled, it goes without saying that Clark’s blind masters must’ve been more than thrilled when he unleashed ‘Final Justice’ upon the unsuspecting world, its mediocrity poisoning the art-form and leading many a film critic and audience member to wonder if the sun would ever shine again after the long-hanging shadow of Clark’s film fell upon the world. Be warned: ‘Final Justice’ is a film that will not only test your patience, but your sanity as well.
Find the nearest Blockbuster (assuming they still exist) near your home so you can rent this film almost immediately. Or, if you prefer that movies came to you instead, set up a Netflix account and start your ordering as soon as possible.