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Posts tagged “Jason Voorhees

Slashers & Serial Killers in Review: FREDDY VS. JASON (2003)

[Probably some spoilers—like you give a fuck, bitch (Freddy voice)]

 

Okay, when this came out, I’d seen every film in the two series this was a crossover of. It would be hard to say which of the two had held up the most, and neither would qualify as serious horror properties by the time this came about. But by then that wasn’t really the point. Not for myself or most fans I knew, at least.

The first few films in each series (well, probably first one or two for Freddy) were pretty serious, dark horror films that happened to be about teenagers frolicking and getting horribly slaughtered. They both became somewhat tongue-in-cheek affairs the further they went on, then eventually each had a remake of some sort, and just before this crossover, Nightmare had what I felt was a very well done return to serious territory that was also “meta”-rrific and a step outside the canon. Craven himself directed that one, and it showed. Actually to this day the only one of these films I haven’t seen is the remake of Nightmare, but I’ve heard I really haven’t missed much. I personally even enjoyed the Friday the 13th sort-of remake reboot-ening, but only saw it once and wasn’t exactly sober, so be gentle.

So, Full Disclosure™—while I have love for both of these characters and properties, I personally would own up to landing pretty squarely in the Team Jason camp—Get It? ‘Camp’? We try to have fun here…

The real question, though, is: does this crossover live up to what people enjoy about each franchise and character and make for an enjoyable film on its own?

Well, heck-a-doodle-doo-doo-muh-bob-a-reeni—let’s find out what I thought, shall we?  Continue Reading

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Slashers & Serial Killers in Review: Friday the 13th part 5 (1985)

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Horror fans can be divided on a lot of different things. The works of Master of Macabre Stephen King comes to mind. Remakes and reboots of beloved classics such as A Nightmare of Elm Street, The Omen, or the upcoming release of another take on Dario Argento’s masterpiece Suspiria can conjure quick debate. We all have our tastes on what is good and what we think is not good. Be that as it may, there are also flicks in which bring instant rejoicing or equally jovial disdain. Take for instance, I believe a majority of horror fans would agree collectively that John Carpenter’s The Thing (1982) is a treasured cult classic. Or that The Exorcist is one of the scariest movies ever made (sure, there’s always that one jerk who denies the truth). And the same goes for the ones we agree we don’t like, such as Nine Lives starring…Paris Hilton (ugh), Shyamalan’s The Happening, or even Exorcist II: The Heretic. This also applies among fans of the Friday the 13th series, while the best ones are hotly debated, the worst is widely agreed upon. And so on this Friday the 13th I thought I’d talk about the one everyone loves to hate, Part 5: A New Beginning. Continue Reading


Slashers & Serial Killers in Review: Friday the 13th PART III 3D (1982)

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As a horror fan I feel rather fortunate that so many of my favorite thrillers released on the year of my birth. A quick Google re-search will reveal a VHS candy store of goody gore and lovable murderers, from The Thing to Poltergeist to Halloween III (the one without Myers) to Amityville II: The Possession (the one that was like The Exorcist but with incest) to The New York Ripper to Pieces, Parasite, The Slumber Party Massacre, and…Friday the 13th…PART 3 (cue groovy disco music). And among the other entries in the franchise, PART 3 is I would say my second favorite. There are many factors that play into my rating but unless you’ve seen it you probably won’t understand. So do me a solid and go pop this flayed VHS cause this review will be chopped full of SPOILERS. Readers…you have been warned!  Continue Reading


Slashers & Serial Killers in Review: Friday the 13th (1980), part III

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These holidays (F13) are so few and far between, I couldn’t resist saying a few words about one of my all time favorite horror movie franchises. As a younger fan of the slasher genre, I watched more of Nightmare on Elm Street. In a way, i think that’s because Freddy is more “kid stuff,” especially the flicks starting with part 3, aka Dream Warriors. It became more and more of a build up to those sweet one-liners, such as: “Wanna suck face?” or “How’s this for a wet dream?” or “Welcome to prime time bitch!” and then breaking into that cackling laughter whilst the soon to be dispatched teen flees for however many seconds of life they have left. Good times. But i think it was around 1994-95 when my allegiances changed when Jason Goes to Hell released to VHS. Somehow, one of my buddies (Matt) was able to get his hands on a copy. Fangoria was still really popular back then too and they had done a full spread on the movie. Needless to say, from that moment forward, my slasher heart belonged to Jason Voorhees.   Continue Reading


Slashers & Serial Killers in Review: JASON GOES TO HELL (1993)

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WELCOME friends to a new year of “In Review.” As you no doubt have guessed, this year we’re running the gauntlet with Slashers & Serial Killers. To say we’ve got our work cut out for us would be an understatement. Thus far the review count looks to be well over 150 different movie reviews all spread throughout 2018 with our usual break in observance of the holiest of horror holidays, Freight Fest. Why such a high review count? There’s the love of course…the utter romanticism of this particular horror sub-genre–knowing the killer in us all by living vicariously through onscreen murderers and villains. Beginning as early as Psycho in 1960 and continuing on all the way into 2018, slasher and serial killer movies are alive then as they are today with hundreds of different movies to choice from. To kick things off, my movie of choice may seem a bit odd…allow me to explain.  Continue Reading


Friday the 13th: The Game

“He’s back! The man behind the mask, and he’s out of control” ~ Alice Cooper

When it comes to slasher movies there are few killers who have anything in comparison with Jason Voorhees.  He has amassed a kill count of over two hundred people. While other slashers have their kill count in the double digits; Jason has triple. When Friday the 13th launched in June of 1980—it became a huge success! Despite what the studio had to say about slasher movies, in a way, it helped propel the slasher genre. The franchise has eleven movies and one re-make.

The 80’s were a time of home entertainment—more so, the pre-cursor of today.  Where the only time we really have to leave our house is to work. Video Game consoles were taking off—allowing family and children to chuck the board games aside or into the back of the closet.  The Nintendo Entertainment System (NES) was wildly popular with young children and teens.

By the time the Nintendo launched, Friday the 13th was on its fifth film.  It would be four years later when Friday the 13th part: VIII was released that a video game would coincide with the release of the film.

Developed by LJN in 1989, it was one of the first survival horror games released in America.  The story of the game: You play as a group of counselors, and you must save the children of camp Crystal Lake.  The game is notorious for jump scares and not player friendly.  Overall, it failed to stay true to the F13 franchise.

In October of 2015, Gun media and Illfonic launched a Kickstarter for a new F13 game.  Based on their original idea of a multiplayer game where you play as the slasher and 8 people played counselors, the slasher would chase the counselors down and do what he does best. Kill.  Once Sean S. Cunningham saw the tech demo for the prototype, and he offered the F13 license.

Editors note: Before Cunningham offered up the f13 license, the Kickstarter project was known as “Summer Camp.”

The game itself is a collaboration of sorts: It re-unites Tom Savini to the franchise (Jason’s original designer), Harry Manfredini (series composer), and it re-unites the most important thing to the series, the only actor who has ever played Jason more than once: Kane Hodder, who will be performing the motion capture for Jason.

Being a Friday the 13th fan, it was my obligation to donate to the campaign.  I donated at the $55.00 tier and earned the right to play in the beta, which was released in December of 2016. The excitement to play was tearing at me.  The drive home from work was the longest drive in the history of the world, it felt miserably slow.

Once the computer finally booted up and I was introduced to a nostalgic opening.  It feels like you have just popped in your favorite VHS tape, the tracking finally diminishes and you are introduced to the name of the developer: Illfonic and Gun Media.

You are greeted by various shots of Jason and the infamous “Ki Ki Ma Ma” is heard. The title scene in itself is something nice.  It allows you to feel the ambiance, and you’re treated to Manfredini’s music, an ode to the classic F13 sound.

Every match begins the same, you pick the counselor you want to play and Jason is selected randomly.  Every character has a different set of skills that will help them survive the match, and the counselors get a certain number of perks.  Jason has pre-selected perks for each version you play (There are five in all. Part 2, 3,6,7,8 and Jason Goes to Hell, plus a backer original designed by Savini himself).  One of the most interesting things about playing as Jason is that you will be able to level him up and select different kills.  One of my favorites is the kill from part VIII where Jason knocks Julius’s head clean off his shoulders.  You are also able to select new kills that were created for the game.

Now, one would expect that playing as Jason is the best part of the game, not true.  The counselors are what make the game fun, sure, walking around and killing dozens of teens is a good time, however, the thrill of staying alive is where the fun is.

As the counselors, you have four objectives—either, call the police and they will meet you at a select point in the map,  fix a car and drive off the map, kill Jason, ( not available in the beta), or die.

As a counselor, you are able to find various items to help fight off Jason or stun him long enough for you to make a hasty retreat. You have the option of hiding from him in cabins, closets, and tents (playing as Jason, finding the hiding counselors will reward you with extra XP that you can use to buy more kills).  Sounds simple, right? Not, so much.  Jason has different abilities. One ability, allows you to transport Jason to any part of the map, another ability, will allow Jason to chase the counselors or appear in front of them.  The main ability players will use is “Sense”  as it allows Jason to see where the campers have staked out—making it slightly easier to hunt them.

The game is fun, at least, the beta.   It gives the feeling of fear and confusion and plays true to the F13 format.   The ambiance of the game is something that really plays into effect.  The ground is often dark and shadows play tricks on the eye.  When Jason comes close to a party or a single camper, a music Que plays to let you know he is near. While it seems cheesy, it gives the player a chance to run and hide.  The game feels like a movie.  Something, I never expected—being a longtime fan of video games and a regular player. I’m not a fan of multiplayer games, at all, with F13, I felt I was in the movie.  I would get adrenaline rushes if Jason was near and I was wounded. My fight or flight instinct would kick in and most the time I would lose or there would be a chance, I would get away, only to have Jason take his revenge, and shove a machete down my throat.  Despite, some bugs (it’s a beta, they will happen) it was an experience I will never forget and cannot wait for the full release.

Friday the 13th: The game is a rare feat, it stays true to the license. A prime of example that in the right hands a movie license can stay true to its origins. And make an experience worthwhile; other companies can learn from this particular developer. If care and passion go into a license a game can break free of the bonds and ideologies; that all movie-based games are cheap and never a worthwhile experience.

Friday the 13th breaks that mold, not only for horror games but multiplayer games, as well.

Kurt Thingvold, no stranger to Machine Mean, was born and raised in IL. He finds passion in writing, which helps calm his demons. He grew up in a tough household that encouraged reading and studying. He spends his time writing in multiple of genres. His published his short story, Roulette, which can be found on Amazon for $0.99!!! When not writing he can be found playing games, reading, or attempting to slay the beast known as “Customer Service”, which, he fails at almost every day. As mentioned, Kurt is a frequent flyer here on Machine Mean, you can also check out his previous review on Ridley Scott’s legacy movie Alien here.

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The Sultan of Splatter

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If the title of this post doesn’t give away what we’ll be talking about, well…shit. We’ve got some work ahead of us. As any fan of horror, the one thing that we deranged nerds tend to appreciate, even more than the actors themselves, are the special effects guys (and gals). To be frank, why do we watch horror? To be entertained, fundamentally, correct? We’re not here to find enlightenment, though if it happens then all the better.  No, much like the poor bloodthirsty souls crammed into Rome’s gladiatorial colosseum, we cry out for escape from the realities of our plight. And what brings the greatest escape, the tastiest of entertainment? Gore. And all the horrible ways characters get done in by the monster, the serial killer, the freak in the castle, the alien invaders, the thing hiding the ice, whatever, we expect gore and lots of it and not just quantity but quality as well. For horror fans, special effects take front row. We critique effects just as harshly as we look at the screenwriters and even more so maybe than the directors. Who hasn’t sat through a terribly written and directed horror movie walking away loving it simply because it had awesome effects? It’s often the first thing we look at.

And with every decade, every generation, there are particular styles of special effects. In the 1940s and leading through the early 60s, it was what wasn’t seen that was supposed to scare you, and blood came from a bottle of Hersheys Chocolate. But starting in the late 1960s, following the advancement of technicolor, under the direction of guys like Alfred Hitchcock and Herschell Gordon Lewis, filmmakers began pushing those on-screen limitations and inventing new ways to entertain with effects. Dick Smith is rightfully the real pioneer of realism in special effects. His crowning achievement, realistic gore in movies such as The Exorcist, The Godfather, Scanners, and more. And Dick did more than pioneer the industry, he set the table for the rise of a new generation who would bring us even better work to the history cinematography.

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Tom Savini was inspired, not by Dick Smith or Herschell or even Frankenstein’s maker Jack Pierce, though no doubt they each impacted him in some way. No. Tom credits his inspiration to legendary early silent film star, Lon Chaney Sr, aka, the Man of a Thousand Faces. Chaney had a reputation in Hollywood for coming up and developing his own props and makeup, most of it often extremely uncomfortable, for the characters he played on screen, some of the most notable ones being The Phantom of the Opera and The Hunchback of Norte Dame, and London After Midnight. In 1957, Universal released the biopic of Lon Chaney Sr., and young Tom fell in love and began experimenting with special effects makeup, first on himself and later his friends. Eventually, Tom attended Point Park University and later Carnegie-Mellon University (following his tour of duty in Vietnam). After enlisting in the U.S. Army, Tom served as a combat photographer in the Vietnam War. It is during this service Tom most credits his development of special effects, taking the harsh realities of war and applying it to his later work.

The true birth of practical effects, or the surge of gore, really started in the 1970s, in such movies as Dawn of the Dead, I Drink Your Blood, and The Incredible Melting Man, among others. And it was during this era Tom Savini started his career which would eventually award him such titles as The Sultan of Splatter and The Godfather of Gore (though to be fair, I think this title ought to go to Dick Smith, don’t you think?). In 1974, Savini worked on Bob Clark’s masterpiece (but oddly forgotten) Deathdream, the story of a Vietnam soldier who comes home after being killed in action. I’ve often wondered what Tom thought about this flick, having served in Vietnam himself. Deathdream doesn’t present itself as being either pro or anti war, though we can certainly guess. What it does present is an overwhelming sense of questioning of our individual involvement in the affairs of the nation, beautifully told from the simplicity of a small town family unit. I’ll stop myself there. I can go on for a tangent with Deathdream, in fact, I’ve got a review of the movie…if you’re interested, you can read it here.

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Next, Tom worked again with Bob Clark in the movie Deranged. Later, he worked with fellow Pitsburg allium, George A. Romero, in the underappreciated fright flick, Martin. Let’s slow down here before moving on with Tom’s other work. Whenever I think of George A. Romero I first think of…zombies, yes, it’s true, shocker, right? But I also tend to think of Tom Savini after thinking about zombies. While Tom was in Vietnam, Romero was making Night of the Living Dead, but thanks to their relationship developed in Martin, they were able to collaborate in Romero’s second of his Dead Trilogy, Dawn of the Dead in 1978. If you know me, you know I’m a huge fan. Dawn of the Dead is without a doubt one of the greatest horror movies ever made. Not only was the screenwriting, the direction, the acting totally above par, but the practical effects also shined. Even today, though the blood is certainly not realistic, it is still effective. When the zombie-fro dude takes a chunk out of that lady’s shoulder, it still gives me the creeps. That’s a 38-year shelf-life, and it’s still aging, still perfecting like a fine wine.

Dawn of the Dead also opened new doors for Savini. In a slew of films, he would eventually be invited by Sean S. Cunningham to work on a new project titled Friday the 13th. Clearly, I’m picking all of my favorite movies Tom was involved in, and why sudden I? I’m the one writing this dang article! That being said, I’m sure there are other horror nerds who tend to lean in other directions regarding the Sultan’s work. Some may prefer Maniac or Eyes of the Stranger or The Burning or The Prowler, all are fine films worth considering. But for me, one of his crowning achievements was Friday the 13th. It’s because of this movie I question why Savini hasn’t been given the nickname The Father of Jason Voorhees. It was Tom’s creation that would spawn into a long lasting and fruitful franchise. Loved by many; despised by some. And as any tragic greek tale, Tom would eventually be asked to destroy his creation in Friday the 13th: The Final Chapter.

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And his career continues. In 1985, Tom was given the Saturn Award for Best Make-Up Effects in Geroge A. Romero’s third “dead” installment, Day of the Dead (1985). And he moved on to contribute to too many movies and television shows to mention here, working as not only a special effects guru but also as a director and an actor/stuntman. Without a doubt, his love for horror movies is very evident. He even started his own school for special effects by opening  Tom Savini’s Special Make-Up Effects Program at the Douglas Education Center in Monessen, Pennsylvania and authored several books, including but not limited to Grande Illusions I and II and Horror F/X. For fans of the late 70s and 80s horror, it’s difficult not knowing his work and the work of other legendary special effects artists. It’s what we wanted most, the gore. Today, though, I have to wonder, are the makeup artist and gore masters even thought of. If I asked your typical The Walking Dead fan who did the practical effects for the show, would they know? I seriously doubt it. The answer is Greg Nicotero, BTW, who also worked on The Evil Dead 2 and Day of the Dead, and who is also from Pitsburg, which makes me seriously question what exactly does Pitsburg put in their drinking water. Maybe this is something we should start doing. No, not the drinking water, the “other” people who make movies possible. Even I do not know all the names of the effects or prop masters and all the other behind the scenes people working tirelessly to bring us our horrific entertainment. This is especially worse for TV as the credits flash by to make time for more commercials. So, if you’re a fan of horror, if you indulge to be entertained by the grotesque, after the show, after the movie, look up the effects team, the writers, the props, the composers, and read their names. you may be surprised to find a lot of these people have been involved in a lot of work you happen to be a fan of.

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Born November 3rd, 1946, today marks Tom Savini’s 70th birthday. And I wish him many more birthdays to come. Thank you, Tom, for your work and bringing not just me but countless others hours and hours of wonderfully sadistic entertainment. Cheers!

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Jason Goes To Hell: a 22 year review

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Let’s face facts here, people. The 1990s had some damn good horror movies! But what sets the ’90s apart from every other decade? It goes without saying (but I’m going to say it anyhow), every era has its own brand or style of horror. The classic silent pictures of the early 1910s with its German expressionism and tales of old legends and then moving on to the Universal Monsters, such as: Dracula, Frankenstein, The Mummy, The Wolf Man, The Mad Ghoul, The Leopard Man, Cat People, etc. etc showed us a new world, reconstructing itself from the maiming machines of the Great War. And then we had the “invaders” of the ’50s with its outlandish sci-fi horror-esk Cold War-esk flicks, like The Day The Earth Stood Still, Invasion of the Body Snatchers, Invaders from Mars, Them!, The Blob, Creature from the Black Lagoon, Plan 9 From Outer Space, etc. etc. And then in the ’60s movies drew downward into psychological freights, with Psycho, Night of the Living Dead, Rosemary’s Baby, Black Sunday, Carnival of Souls, Whatever Happened to Baby Jane, X: The Man with the X-Ray Eyes, and so on and so on. And of course, who could forget the ’70s? The decade of Savage Cinema with terrifying flicks, such as The Exorcist, Dawn of the Dead, Alien, The Texas Chain Saw Massacre, Jaws, Carrie, The Omen, Shivers, The Brood, Deathdream, etc. etc. And of course moving into the big hair, more of everything, excess-excess of the 1980s, with films like: The Evil Dead, Re-Animator, Nightmare of Elm Street, The Thing, The Fly, Return of the Living Dead, The Stuff, Hellraiser, Poltergeist, American Werewolf in London, Videodrome, Creepshow, and so many more, not to mention the birth of the Friday the 13th series and the modern slasher.

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Lets return to the above question. What could be said of the 1990s? The monsters, in retrospect, seem to be more internalized, almost spiritual or more supernatural in nature than in decades past. Before moving on to our movie in review, lets examine for a moment the occultioris sensus of some of these spiritual-supernatural horror flicks, which would include: In The Mouth of Madness, Candyman, Jacob’s Ladder,  Wes Craven’s New Nightmare, Nightbreed, The Sixth Sense, Ravenous, Sleepy Hollow, Silence of the Lambs, Baby Blood, Lawnmower Man, Cronos, The People Under the Stairs, Misery, Cube, Ringu, The Serpent and the Rainbow, Event Horizon, etc. etc. And I know I’ve probably missed some, but still… Take a look! For the most part, pooling from a majority of movies, we can tell that horror withdrew from the overindulgence of gore and mayhem and, much like in the ’60s with the addition of supernaturalism, drew inward becoming a spiritual-supernatural psychological thriller.

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When our beloved classics crossed over into the new era, they likewise transformed into the cerebral appetites of said decade. Consider Wes Craven’s New Nightmare, which was not heralded as a good Nightmare on Elm Street…why? Because its not a Nightmare on Elm Street movie. The ’80s are…game over man! Done! Gone. Hasta la vista baby! When long running series’ transition into a new decade, the judgement and critique of the film becomes…well, a tad bit unfair. When we hear Nightmare on Elm Street or Friday the 13th we expect what we watched in the 1980s, but its not the 1980s anymore. If we were to be reasonably rational, we must critique said movie for the era in which it was made… Of course, a really-really-really good critique will look at both, if the movie is from a running series. Does the movie honor the decade past while ushering in a new take in the new era? While Jason Goes to Hell has received some rather harsh criticism, my opinion on the matter is, yes, Jason Goes to Hell does honor the past while bringing in the new.

Synopsis:

After being blown away by a team of FBI agents, Jason Voorhees (played by Kane Hodder) needs to find a way to overcome certain death. When his bloodied remains are sent to the morgue, his heart, still intact, is able to hypnotize a coroner and take over his body. After brutally dispatching a couple of FBI agents, he heads back to his favorite stomping grounds: Crystal Lake,  and commences a quick massacre before heading into the town surrounding Crystal Lake. Jason swaps bodies has he continues his hunt for the Voorhees bloodline so that he may be reborn again. After a confrontation between Creighton Duke and Diana Kimble, Creighton warns Diana that Jason will come to get her and her daughter, Jessica Kimble, the only remaining relatives of Jason. Diana tells Jessica’s former boyfriend Steven Freeman to meet her at their house to discuss some issues in private. Come nightfall, Steven arrives at her house, hears Diana screaming, and goes to her aid to find her being assaulted by Josh, a fellow policeman who earlier, had been taken by the “coroner” and had Jason’s spirit transferred into his body, as illustrated by Creighton Duke. Jason then finally kills Diana.

Steven is falsely accused and arrested, meeting the mysterious person, Creighton Duke, in jail. Duke claims that only members of Jason’s bloodline can truly kill him for good. Therefore if he transfers the creature into a member of his family, he will be “reborn” back to his old form. Creighton goes on to tell Steven that the only living relatives of Jason are his half-sister Diana, her daughter Jessica, and her infant daughter Stephanie.

Unscrupulous news anchor Robert Campbell, who is dating Jessica, steals Diana’s body, planting it in the house for an upcoming investigative show to boost his ratings. Jason bursts in and possesses Robert before leaving with Steven in pursuit. Jessica, who is unaware that her boyfriend is the undead killer, is attacked by him so he can be reborn through her but is disrupted by Steven, who manages to stop him and get Jessica into a car. He runs over Jason and explains the situation, but Jessica does not believe him and throws him out of the car and goes to the police.

Steven turns himself into the police and arrives at the station as Jason does; he frees himself again to protect Jessica, who now realizes the truth. In the chaos, Creighton makes his escape. Steven and Jessica discover a note from Creighton, telling them that he has Stephanie and ordering Jessica to meet him at the Voorhees house alone.

Jessica meets Creighton at the Voorhees house. Creighton throws her a knife, and when she catches it, the knife turns into a mystical dagger. Jason tries to possess Stephanie, but Steven arrives and severs his neck with a machete. A creature crawls out of his neck, and makes its way to the basement, where Diana’s body was planted. Jason explodes through the floor in his original body.

As Jessica attempts to retrieve the dagger, the two men alternately fight with Jason. Duke is killed by Jason, and the fight between Jason and Steven ends up outside in the yard. As Jason prepares to finish him, Jessica jumps behind him and stabs him in the chest. This causes Jason to be dragged to Hell.

As a dog appears and unearths Jason’s mask, suddenly, a familiar claw-gloved hand suddenly emerges from the ground and drags the mask down into Hell with an evil heckle in the background (Friday the 13th Wiki).

Jason Goes to Hell brings back all kinds of 1990s nostalgia. For the life of me I cannot recall if I was able to see this one in theaters or not, however, I do remember watching it on VHS and thinking how different it was from the others (I even can recall the Fangoria issue with Jason Goes To Hell!!!), but not in a bad way, just a different way. With being a big fan of Friday the 13th, I’d read all the books (that’s right, there are books!) and was familiar with the concept of the supernatural element with Jason, that is, his spirit can live on in others. Voodoo type stuff. Think, Child’s Play. This was sort-of the concept for Part V but let’s not get into that right now…

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Jason Goes to Hell had some drawbacks, sure. Fans were hoping for what they’ve come to love, teen-slasher-gore. But that’s simply not what this movie was about. I think to better understand Jason Goes to Hell we should look at it as its own stand-alone flick. If we can push away from the table of Great Expectations, we’d see the amazingness this Final Friday brings to the table. Much like New Nightmare was for Freddy. I know plenty who hate that movie, simply because it wasn’t like the others. Personally, I enjoyed both. Yes, they weren’t the slashers we remembered from the ’80s. But hey, the ’80s are over, man! In Jason Goes to Hell, the action was well paced. The acting was a hell of a lot better than in some of the Friday’s past. The cast was also solid. There was humor, specifically in all the Easter Eggs in the Voorhees house. The Uncut edition was chock full of gore and practical effects. It was brutal when it needed to be and it was supernatural when it needed to be. And the soundtrack was also very memorable. Overall, I thought Jason Goes to Hell was a fantastic addition to the franchise, taking the ’90s spiritual-supernaturalism back into the gore-fest mayhem of the ’80s, or vise-versa…? Oh, whatever, you know what I’m getting at!

My Rating: 4/5 

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Thomas S. Flowers is the published author of several character-driven stories of dark fiction. He resides in Houston, Texas, with his wife and daughter. He is published with The Sinister Horror Company’s horror anthology The Black Room Manuscripts. His debut novel, Reinheit, is published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein and Lanmò. His paranormal-thriller series, The Subdue Books, including Dwelling, Emerging, and Conceiving, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston-Clear Lake with a BA in History. He blogs at machinemean[dot]org, where he does reviews on a wide range of strange yet oddly related topics. You can check out his work on the altar of Amazon here.

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Friday the 13th

If you’re a Friday the 13th fan, today is a good day for you. Not only has the, in my opinion blundered, Blu-ray box set released, but also, the more anticipated Crystal Lake Memories: the Complete History of Friday the 13th (a more definitive making of Friday the 13th franchise collection), and a new book by author David Grove, Location in Blairstown: The Making of Friday the 13th. And at conjuncture, I’d rather get my grubby mittens on the documentary film than the Blu-ray box set. There isn’t much there that hasn’t already been offered on DVD. You can check out my full review on the quote-unquote, so-called “complete collection” here (for shame WB, for shame!).

But, today, not only can we be excited for these new Friday the 13th releases, but also because today is the moniker for our beloved franchise. Now, Friday the 13th wasn’t the first slasher, John Carpenter’s Halloween should be credited as the patron saint for fictitious murderers, but Friday the 13th has become the most influential, goring the hearts and minds of horror fanatics ever since its release back on May 9th, 1980. Springing from a simple, albeit notorious, tale of a bereaved parent struggling to find justice for the death of her son, Friday the 13th has since encapsulated how killer outcasts seek retribution and old testament justice (revenge) in a post-contemporary world. It’s always interesting going back to the original and comparing it to the many sequels and spin-offs that have followed over the years. Though the mood and pace of the original is similar to the others, it’s also very different. In the original, while the film is still dominated by the classic slasher motif, there is an actual story, worthwhile, taking place.

The synopsis follows: “In 1957, a young Jason Voorhees, drowns at Camp Crystal Lake, while the counselors were ‘too busy’ (wink-wink) to watch him. His body was never found. One year later, two counselors are found murdered [at the same camp], [but] the murderer [is] never caught. After the brutal murders the camp is dubbed, ‘Camp Blood’ by the locals [and] remains closed [for twenty years]. Many [attempt] to reopen, but failed due to foul play. [The story picks up as local native] Steve Christy [throws himself into] reopening Camp Crystal Lake [at all costs]. He hires [a group of rag-tag teens, including:] Annie, Alice, Marcie, Jack, Bill, Brenda, and Ned… [Yet] one of the counselors never shows up. [A storm rolls in] and one by one, each of the counselor’s go missing. Till only one remains, to face the killer alone” (adapted from Camp Blood synopsis).

The real shock, for me at least, when watching the original was discovering that Jason wasn’t the killer; he wasn’t even in the movie until the very end. Friday the 13th wasn’t my first Friday the 13th film, I started with part 7 (I think) and after a few years, decided to give the original a go. Sadly, at the time, Jason wasn’t my favorite horror movie monster. Growing up, Freddy was slightly more popular than our hockey masked friend. Thankfully, through the decades, I’ve wised up and have accepted Jason for the dominating 80’s horror icon that he was and still is. Today, Friday the 13th, despite lacking one certain “pissed off goalie,” and supposed questionable production value, has become my personal favorite in the entire franchise.

Why? Good question. Sure, the Nightmare on Elm Street series is rather good, at least the first couple films, but as I’ve found myself a little more…seasoned, the characture and character of Jason resonate stronger with who I am now; not who I was as a kid. I don’t think kids could (can) appreciate Jason. Freddy always had those cleaver one-liners and retrospective dream stories children tend to find interesting (right?); whereas, Jason simply goes for the throat without the Bond-esk narrative.  Jason delivers up-close and personal stalk and slash without being silly about it. The films are normally grainy but never lazy. There is a pace expected and always delivered. You cannot reason with Jason. He is who he is; the situation is what it is. You can fight and lose or fight and survive. The strong do not necessarily live to see another sequel; the weak do not necessarily expire in some grotesque manner. Chance and unpredictability play just as equally as the notion of “bad luck.” And then there’s the nagging question of morality. In a way, Jason is a supernatural judge, weighing the lives of his victims, and dispatching fanatical Old Testament justice.

The question of morality is why, as it seems to me, Friday the 13th has become such a popular movie and has built such a huge fan base. No one enjoys being judged. In Friday the 13th, Pam and Jason are giving the audience a way of relieving feelings of moral judgment by making lite of the entire enterprise. Jason and his doting mother are cathartic; extreme, chilling and gruesome, but yet satisfying in the face of bullhorn preachers. And the best part of Friday the 13th is that it’s really just a simple popcorn horror movie, enjoyable to the last kernel. A movie nostalgic campers resonate with well. Friday the 13th is a “ghost” story, a myth that fits perfectly in the old way of looking at evil, “out-there” in the deeper places out in the woods, beyond the campfire, where we dare not go alone.

Really, so much could be said regarding the Friday the 13th series. You can love them or hate them, but doubtfully anything ho-hum; it is truly the only absolute either-or I’d accept. I’d expect nothing less from such a unique franchise. While critics initially hated the release of the first film, fans have only grown to adore it that much more. There are currently twelve Friday the 13th movies, spanning over 33 years! And the franchise is still growing, or at least has plans to grow. Even the really cheesy ones hardcore nerds tend to criticize, such as part 10 (clears throat), in themselves have found their own fan base. I’m not a huge fan of Jason in Space, but then again, some folks really dig it and the simple fact that there are people who actually love the awful ones is what makes the series so amazing!!!

Have a Happy Friday the 13th everyone and don’t forget to pop in your favorite Friday the 13th film!

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Freddy vs. Jason: Ten Year Review

 

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When the two most dominating slasher icons of the 80’s were set to face off on screen, fanboys across the globe rejoiced… We’ve all (nerds/geeks, whatever, that is) at some point pondered who would win in an all out fight, Freddy or Jason? These kinds of pondering’s are typically done while drinking or during “what if” or “which one”existential scenario meanderings we enjoy with friends when we’re bored, such as: “which of the Golden Girls would you go to bed with: Dorothy, Rose, Blanche, or Sophia?” These are not serious questions; these are stupid questions designed to entertain. Why? Well, because its fun and maybe there also might be something seriously wrong with us. So, for better or worse,  Freddy vs. Jason was not a serious slasher; it was a dumb movie that simply entertained. The question remains though, was FvJ entertaining enough to warrant a thumbs up or a thumbs down?

The beginning of FvJ picks up were New Nightmare and Jason Goes to Hell left off (ignore Friday part 10, aka Jason X, aka Jason in Space or not, since part 10 is a future story line). In this story, Freddy has been virtually forgotten by the children of Elm Street (Springwood, Ohio) and thus searches “the mounds of hell for someone who’ll make them remember.” And who does Freddy find to help his precious children remember his name? None other than Jason mama’s boy Voorhees, who has been spending his tenure in hell reliving the good old days in an Camp Crystal Lake-Esq dream. Pretending to be Pamela Voorhees, Freddy “tricks” Jason into “waking up” and sets him to punish the children of Elm. And thus we have the main driving force behind the movie: Jason’s job is to upset the apple-cart, the institutions, including both the Sheriff and General Practitioner (who is also moonlighting as chief medical adviser at Westin Hills Psychiatric Hospital), by doing what Jason does best, killing promiscuous teenagers. Sheriff Williams and Dr. Campbell both mistakenly assume its Freddy causing mischief again and set out to silence anyone who whispers his name. Considering the murders do happen on Elm Street and in the very same house Freddy once lived when he was alive, their assumptions are reasonable and believable. Despite enough plotholes you could fit a Buick in, the premise and motivations are actually rather solid, even for a top of the line horror B flick.

However, much to Freddy’s disdain, Jason is a very assiduous and proficient killer and begins to knock off a few too many youngsters. Meanwhile, the surviving Scooby Gang, plus one Deputy Stubbs, come together to figure out who the killer is, is he in their dreams or is he the giant pissed off goalie from the cornfield rave? The group “cleverly” deduce (after watching a few of their friends murdered in horrible ways) that it is not one killer but two, Freddy in the dream world and Jason in the real world and then devise a plan to bring Freddy out of the dream world to face off against Jason. After a few more of the Scooby Gang are disposed, the gang plans come to fruition as Lori manages to pull Freddy into the real world just before Jason is about to murder them all. Recognizing Freddy as a combative, Jason goes on the offensive and the two begin to duke it out, mano-o-mano, knife-glove verses machete, slayer verses slasher. boogeyman verses monster.

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The end is what everyone has been patiently waiting for, watching scene after nauseating scene, to see these two powerhouses go at it. Again, this isn’t serious horror, this is just entertainment in its most simplest form, ungratuitous violence. After a few more from the Scooby Gang are dispatched amongst the carnage, leaving Lori and Will as the remaining members, it looks as if we might actually have a victor. However, much to the resentment of fanboys, there really was no clear winner. The “final” stroke comes from Jason, as he impales Freddy through the chest with his own “glove-knife” arm before falling back into the water to “recharge,” as he does in his own franchise films. And so, after Lori and Will celebrate their cathartic victory and ultimately, sheer luck of survival, Jason emerges from another location with Freddy’s severed head in tow…and then Freddy gives the audience a little wink just before the credits roll. (sorry, spoilers!)

As it seems, director Ronny Yu didn’t have the guts to select a clear winner. The movie wasn’t (couldn’t have been) done with “serious” in mind. This was a dumb-fun horror movie designed with the intent to answer the nagging question over who would win in a fight, Freddy or Jason. And just when Jason fanboys were about frail about in jubilant glee (myself included amongst them) we were then robbed of said celebration. As if the real joke was us thinking there was actually going to be a real victory. Thankfully, Freddy vs. Jason doesn’t seem to have any real impact on the two antagonists respective canonical’s. As we stated before, part 10 was released before FvJ, and is a future based in a future timeline where Jason is still active, thus cluing fans in that if there were to be a winner in the FvJ bout, it was either going to be Jason or the deciding factor was not intended to be permanent; thus again cluing us fans that this movie was never intended to be a “serious” slasher with lasting effects on the two franchises. FvJ was simply a blood and juts romp in the wonderful woods of nostalgia.

The Bottom Line: its been ten years and you still haven’t seen this movie? Well friend, unless you a horror fan who just woke up from a decade long coma, chances are you will not enjoy this movie. FvJ was made with fanboys of both or respective franchises in mind. However, if you are a fan of Freddy or Jason or both and are still up for it, i’d say give FvJ a go. If anything, you’ll be entertained, but don’t expect anything groundbreaking here. This movie is pure beer drinking humor and nothing more.