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Posts tagged “Tom Savini

Fright Fest: Night of the Living Dead (1990)

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What? Were you expecting a Friday the 13th Jason Voorhees review? Keeping with tradition, with Part 3 playing in the background, I’ll do my best and not yarn too much over the movie I give credit as starting my entire fascination with not just horror, but zombies too. No, not Friday the 13th Part 3, come on people, stick with the program. I’m talking Night of the Living Dead. Imagine, if you will, that you’re a twelve year old boy and you have a big sister who by all accounts ought to be hanging out with her much more mature friends but instead decides to watch movies with you. That was me. And while not every Friday (because my sister did have a life), but on most Friday nights we would have a Friday Movie Night. I’m talking pizza, popcorn, soda, candy, and whatever other junk we decided to indulge ourselves with. We’d order Pizza Hut and drive down to the local video store (Blockbuster) and rent whatever we wanted. While I cannot recall every movie night, I certainly recall the night my sister rented Night of the Living DeadContinue Reading

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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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The Darkest Day in Horror

On this day in Horror, July 3rd, 1985, Day of the Dead was born to a select number of theaters nation wide. The third and final chapter in George A. Romero’s epic living dead trilogy, Day of the Dead was proceeded by Night of the Living Dead and Dawn of the Dead and as any Romero purist will understand, the stories weren’t so much about the undead (sure, zombies are a big part in a zombie movie, but a movie with only zombies would be rather boring, like staring at gold fish bumping into each other in a bowl); the stories were about the people who survive, or I should say, attempt to survive. In Night of the Living Dead (1968) the story surrounded the “silent majority,” a  joke at  Tricky Dick regarding the Vietnam War and the 1960’s counterculture movement.  Dawn of the Dead (1978) was, more or less, about the folly of consumerism and the importance of community. Day of the Dead was, in Romero’s own words, “[a] tragedy about how a lack of human communication causes chaos and collapse even in this small little pie slice of society.” Day of Dead also alluded to the state of uniformity, that is, we all, in some way, wear uniforms. In the film, the different “uniforms,” be that of the scientist, solider, or weed smoking helicopter pilot, are all searching for our own way to live whilst maintaining a sense of community, but when communication breaks down, said community tumbles and folks begin to find it hard pressed avoiding being eaten alive. Fundamentally, all the films depicted scared people reacting in all the wrong ways in the face of the undead horde.

Critics of the film thought it was slow and depressing, unlike the first two living dead movies. Even though I’d consider myself a Romero purist, I would have to agree. The film was a bit slow and rather droll, but being that this was the “final chapter,” it would have to be depressing, considering how horrible folks try to survive in horror movies. Which of course, says something about ourselves, why horror movies are even popular in the first place, because we know we react to chaos stupidly. We yell at the girl on screen for going out into the woods, alone, to investigate a strange noise, but even though we’re yelling at her now, don’t you think, at least one of us, would do the very same thing? 

With that being said, Day of the Dead, for me at least, was a positive 9/10 stars. The beat of the story was steadily ominous (perfect for a Romero zombie flick) and Tom Savini (make-up effects) was at the top of his game. Happy Birthday Day of the Dead, aka, “The Darkest Day in Horror,” and thank you for disturbing my sleep for many a year with images of torsos being torn apart and creepy hands coming out of the walls!

If you dare, check out the trailer below.