Unlike the first franchise in this summer’s experiment, the Karate Kid is a franchise I was intimately familiar with as a child. I don’t know if anyone my age couldn’t recite the first movie by rote, and I know I watched the second one dozens of times over the years as well. I don’t quite remember the third one, although I’m sure I saw it at least once, and I’ve never seen The Next Karate Kid at all, so that will be an adventure. I know there was a remake a few years ago starring Jackie Chan and Jaden Smith. I’m not counting it, as it’s obviously a total reboot and therefore not part of the original series, and also Jaden Smith is the most pretentious thing outside of a cologne commercial I’ve ever seen.
Thoughts: As I said, I watched this movie a lot when I was a kid, but I haven’t seen it in years. When the opening credit sequence began, with Daniel Larusso (Ralph Macchio) and his mother Lucille (Randee Heller) loading up a station wagon in New Jersey to move across the country to California, I didn’t remember it at all. I was a bit taken aback, but once the dialogue started it all started clicking back, I found myself anticipating the lines before they started. There’s something great about watching an old movie for the first time in a long time. It’s kind of like coming home.
Anyway, the story is pretty universally known at this point – Daniel moves to a new town and falls for a girl named Ali (Elisabeth Shue). Ali’s creepy ex-boyfriend Johnny Lawrence (perennial 80’s movie douchebag William Zabka) beats him up using the skills he learned from his Karate sensei, John Kreese (Martin Kove). Just when things seem darkest, Daniel meets his apartment complex’s handyman, Mr. Miyagi (Pat Morita, in a genuinely iconic performance), who reluctantly takes Daniel under his wing and begins teaching him to defend himself.
I forgot just how long the build-up was in this movie. Daniel’s troubles take up an enormous chunk of the beginning, and in fact, he encounters Mr. Miyagi several times before he finds out the old man is a Karate master. Until that point, it’s about building the relationships between Daniel and his mother and Daniel and Ali, both of which work well. Maccho and Heller have great mother-son chemistry, with her gentle nagging and his quiet frustration rubbing each other just the wrong way. It’s also a more honest relationship than you see in a lot of movies – it seems like most of the time parents and children in cinema either have a flawless connection or are at each other’s throats with nothing in-between. Here it’s clear that Daniel and Lucille love each other deeply, but at the same time, the move west has caused undeniable and unavoidable friction between them. Ali is kind of a typical 80s teenager, at least for a PG movie and not a slasher flick, but part of that is due to Elisabeth Shue. Between this movie and Adventures in Babysitting, she was every 80s boy’s childhood crush at some point.
As this is going on, we see Daniel and Miyagi starting to bond. Miyagi helps him several times, teaches him how to trim a bonsai tree, makes him a disguise so he can go to the Halloween dance without being pulverized… and then the ass-kicking begins. Morita’s performance here, even 30 years later, is absolutely flawless. He’s a good man, a kind man, but a man who has seen enough violence and doesn’t want to see any more. Even when he sees Daniel practicing karate from a book, even when he sees the results of one of his beatings, it’s not until he has to step up and defend Daniel from nearly getting killed by a whole mob of Cobra Kai that we get any hint of the fierceness he’s capable of. And it’s only when Daniel practically begs him that he agrees to teach his young friend to fight for himself.
Plus he was more than capable of holding his own against the youngsters. Morita was 52 when this movie came out, but he played the character as that sort of wizened, ageless Asian character that seems to carry around an age that transcends his body. That’s why it’s so awesome to see him beat the crap out of William Zabka in such a convincingly choreographed fight scene.
Speaking of Zabka, it’s funny how time can change your perspective on a movie. When I was a kid, I always thought of Johnny Lawrence as the bad guy in this film. And while he’s certainly not a good guy, watching it again for the first time in years, I’m starting to see that Martin Kove’s John Reese is the real villain here. Johnny and his buddies are thugs, to be certain, but they learned to be thugs from Reese. This man is supposed to be a teacher. A mentor. Instead, he’s taken something that’s supposed to be about discipline and control and turned it into a weapon. He refuses to tell his attack dogs to leave the new kid alone, he tries to pick a fight with an old man, and he orders a teenage boy to lay a brutal and illegal hit on another one. That’s way more insidious to me now than some high school punk who beats up the new kid.
Again, because it’s been so long since I saw the movie, I’d forgotten just how 80s this soundtrack is. Virtually every song pumped in the background evokes feelings of elementary school for me, some of them going so far as to cause me to wistfully remember Kids, Incorporated. If you know what I’m talking about, I assume that you, like me, are currently being bombarded by Facebook posts by former classmates talking about an unpcoming reunion and making you feel about a million years old.
We all know how Daniel wins, taking out Johnny Lawrence in the final battle (which is technically illegal, as he hits him in the face, but the judges seem to ignore that – I’m going to assume because they all know John Reese is a jerk). When you’re a kid, this is wish fulfillment at its finest – the boy takes down his oppressor. He proves himself the better man. Every boy my age wanted to be Daniel, every one of us wanted to be trained by Mr. Miyagi. And yeah as an adult it’s easier to look back and see that in the real world a confrontation of this sort probably wouldn’t solve the problem. Johnny wasn’t going to be nice after being taken down in the ring. The Cobra Kai kids weren’t going to leave you alone after you beat them. If anything, it would probably simply escalate the problem. But in Movieland it doesn’t matter, in Movieland Daniel wins and the rivalry is settled for all time. Hell, in Movieland the defeated Johnny actually hands Daniel the trophy.
The real world doesn’t work that way. But man, it’s nice to look back a movie like this one, where it does.
The Karate Kid Part II (1986)
Director: John G. Avildsen
Writer: Robert Mark Kamen
Cast: Ralph Macchio, Pat Morita, Martin Kove, William Zabka, Yuji Okumoto, Joey Miyashima, Danny Kamekona, Tamlyn Tomita, Nobu McCarthy
Thoughts: The Karate Kid Part II begins with a brief prologue that takes place right after the first movie ends. Right after the tournament, Miyagi encounters Kreese berating Johnny for losing, and winds up humiliating him in a fight by only acting defensively, then refusing to strike a killing blow. This was actually an unused ending written for the first movie but not filmed until production began on part two. I don’t know if it was changed at all, but it works very well to bookend the film, providing Daniel’s first lesson in his second adventure.
After the prologue we fast-forward six months to the end of the school year, where Daniel’s life is crapping out on him again. Ali has dumped him and his mother is being sent to Fresno for two months, so Miyagi decides to help him focus by having him build what turns out to be a guest room so he can stay in town. His relief is almost immediately derailed though, when Miyagi gets a letter from Okinawa telling him that his father is dying.
There’s a great moment early in the film when Miyagi is about to board the plane to go back to Okinawa only for Daniel to come running up behind him, having emptied his savings account to buy a plane ticket. This scene demonstrates two things. First, it shows just how deeply the affection these two characters have for one another runs. Second, it flips things from the first movie. In Part I, Daniel was the one who needed help from Miyagi. Here, Daniel is asking Miyagi to let him become the helper. The role reversal becomes plainer later on, but this helps show how Mr. Miyagi mostly takes the protagonist role from Daniel this time around. Later, when Miyagi’s father dies, Daniel tells him a story about the death of his own father, and Morita squeezes out very convincing tears. The student has become the teacher, and it’s done very smoothly.
Miyagi’s arc continues nicely from the first movie. When Daniel was first in trouble, it took an extreme situation to draw him out and you could tell there was a reason he didn’t want to fight. Here we find that reason. Again no matter how much Sato and Chozen provoke him, he doesn’t decide to fight back until it’s necessary to defend somebody else. The first time it was Daniel, this time it’s his entire village in Okinawa that’s in jeopardy. I doubt Kamen and Avildsen (who wrote and directed both movies, respectively) planned things quite this far when they were working on the first script, but the pieces come together very well.
That said, this movie does share a bit too much of the DNA of its parent, almost making it a clone. Miyagi’s former friend Sato (Danny Kamekona) takes over the Kreese role, Sato’s nephew Chozen (Yuki Okumoto) is the new Johnny Lawrence. Miyagi’s lost love Yukie (Nobu McCarthy), the woman who came between him and Sato, has no analogue… but there’s her niece Kumiko (Tamlyn Tomita) to take over as Daniel’s love interest. And just like the original the climax of the film boils down to a fight scene in which Daniel uses a “special move” he picked up from Miyagi almost as an afterthought in order to win.
Chozen, however, is more than just Johnny Lawrence redux. While Johnny was a bully, everything he did in the first movie was easy to chalk up to teenage bravado. Chozen is brutal and far crueler than Johnny ever was. He beats Daniel severely more than once, trashes Miyagi’s father’s house and garden, scams farmers in the town who rely on his family business for their livelihood… he’s an outright criminal. And while it may have been a bit of a stretch for Johnny to hoist Daniel’s trophy and proclaim, “You’re all right, Larusso!” it would be simply inconceivable for Chozen to do such a thing. Even after Miyagi saves Sato’s life and he relinquishes his vendetta, Chozen still carries around that chip, that blow against his “honor.”
But there’s enough that’s unique to this movie to make it compelling. It builds on the characters, particularly fleshing out Miyagi’s backstory, in a very pleasing way. For example, Miyagi tells Daniel that his father took him fishing as a child in 1927. Morita wasn’t even born until 1932, validating my feelings during the first movie about the ageless quality they tried to give the character. The final fight, this time between Daniel and Chozen, is also markedly better than the Daniel/Johnny fight. In fairness, though, in the first movie the fight was a strictly regulated battle for points, except for the judges letting Daniel get away with that kick to the face. This time, Chozen fights to kill and Daniel fights for his life. It’s a more brutal fight, with some pretty good choreography and a finale that bounces back to Miyagi’s defeat of Kreese at the beginning of the movie.
The first Karate Kid would have stood perfectly well without ever having a sequel but The Karate Kid Part II was a pretty good sequel to have.
Thoughts: I only vaguely remember The Karate Kid Part III, but I find it amusing that – like Part II – it kicks off with a montage of moments from the first film. This montage also picks up the Part II prologue, where Kreese wound up with a pair of bloody fists after Miyagi refused to fight him. Did the 80s really have that big a problem with people forgetting what happened between installments of a film series? Is that simply something I don’t remember?
Anyway, after ignoring the rest of Part II, Part III jumps ahead in time to show us Kreese, now a broken man with an empty dojo and no students left. He goes to his old army buddy Terry Silver (Thomas Ian Griffith), a millionaire businessman who he owes back rent on the dojo. Terry isn’t mad, though, far from it. No, he wants to plot with Kreese to get revenge on Daniel and Miyagi for humiliating him. Our dynamic duo, meanwhile, are returning from Okinawa only to find that their apartment complex has been sold and Miyagi is out of a job. Oh, and Daniel’s mother has gone back to New Jersey to tend to a sick uncle and he’s been dumped again. I don’t know what this kid was doing between movies to drive these girls away, but he had to knock it off. In fact, when he meets this film’s love interest, Jessica (Robyn Lively), she preemptively breaks up with him by saying she’s got a boyfriend “back home” that she’s going back to after Thanksgiving. Before I met my wife, I always thought I had the worst luck with women in the history of the planet, but watching these movies back-to-back has made me realize I can only play for the Silver in this competition.
Anyway, Daniel again blows his college money for Mr. Miyagi’s benefit, this time helping to open a store selling bonsai trees. This is the same money he just brought back from Okinawa, mind you which means that all three of these movies take place in less than the space of a year. Ralph Macchio was 23 when the first one came out, and still capable of passing as a teenager. By 1989 he was pushing 30, and while he still had a babyface (and does to this day, honestly), it was getting harder for him to pull off playing the “Karate Kid.”
The Daniel/Miyagi stuff is strong, but Silver as a villain is comical. With his greasy, slicked back hair and his casual racism (I never noticed the ethnic slur Kreese used in the prologue of Part II when I was a kid, but I caught it this time, and when it showed up again in the recap in Part III, and again when Silver says it a few minutes later), it’s as if he plucked all the bits and pieces of his existence out of a Bad Guy Catalogue and turned into a generic jerk. He’s constantly turning up in bubble baths or saunas while he wheels and deals, recruiting a ringer named Mike Barnes (Sean Kanan) to fight Daniel as he defends his tournament title. Of course, he doesn’t know that Miyagi has no intention of sending Daniel out to fight again. After all, a big part of Part II was Daniel learning the lesson of what real Karate is, and how it should be used for defense, and that fighting for the sake of a trophy would be stupid, which is why Silver exists in the first place. There needs to be some reason for Daniel to do Karate, or neither of the words in the title would make sense.
Aside from the plot, the dialogue in this film is painful. When Barnes and his flunky harass Daniel and Jessica, the best insult she can muster up is “slimeball,” and the best retort he can summon is “Did your mother teach you that?” I was in middle school when this movie came out, and evidently, so was whoever wrote these lines. (To be fair, Robert Mark Kamen wrote all three movies, but claimed this time his script was warped so much that he walked away from the franchise.) Silver’s plot – which involves him pretending to train Daniel while his hired goon threatens him – is bizarre and pointless in regards to his actual goal. He makes a speech at the tournament about training people with “values,” then sends out his student to beat Daniel around and take cheap shots in full view of everybody, which seems somewhat counterproductive. The metaphor of a bonsai tree standing for Daniel keep turning up over and over again, growing beyond merely strained to obnoxious. And Jessica, frankly, is pretty worthless as a character. This isn’t a knock against the actress – Robyn Lively is actually quite charming – but she doesn’t do anything. She’s not even a damsel in distress, which may be a trite and outdated cliché, but at least it’s a role.
Oh, and Daniel wins thanks to a casually-learned “secret move” yet again.
A great original film, a decent sequel, a weak part three. Now for the capper, the Karate Kid movie I’ve never seen. Is it possible that it could dip from here?
The Next Karate Kid (1994)
Director: Christopher Cain
Writer: Mark Lee
Cast: Pat Morita, Hilary Swank, Michael Ironside, Constance Towers, Chris Conrad, Arsenio Trinidad, Michael Cavalieri, Walter Goggins
Thoughts: Mr. Miyagi is in Boston to get one of those military decorations that the previous movies clearly established were meaningless to him. While there, he drops in to visit Louisa Pierce (Constance Towers), widow of one of his old army buddies. Louisa is having a tough time – not only is she a widow, but she’s raising her teenager granddaughter Julie (future Oscar winner Hilary Swank, but man, you never would have guessed it from this film), who has carried around an anger with the world since her parents died in a car accident. We know this because Julie announces it in some of the most forced dialogue ever written. She could have easily ended the speech by screaming, “THERE! Is THAT enough exposition for you, GRANDMA?” and I wouldn’t have been surprised in the slightest. At any rate, after approximately twelve seconds of movie time Miyagi tells Louisa to go chill at his house in California for a while so he can straighten Julie up.
Julie resists, of course, because there wouldn’t be much of a movie if she didn’t, and she gets mad enough to bolt into the street and almost get plowed over by a pizza delivery guy, which she avoids by jumping on the hood of the car. Miyagi recognizes the “tiger jump” she did, and gets her to admit she learned it from her father. They strike a bargain for him to teach her karate, which comes in handy after she gets suspended for fighting in school – although she was actually just trying to protect a hawk that’s kept in a cage on the roof… look, I know it doesn’t make any sense when I explain it but it doesn’t make any sense when I’m writing it either, so we’re on the same page. With her time off from school, Miyagi takes her to a Buddhist monastery where she learns to respect all life, which frankly doesn’t really seem like it was her problem in the first place.
And that’s the major problem with this film, friends. The writing in this movie is just plain sloppy. Aside from the awful dialogue, there’s the fact that Julie’s early exposition enunciation comes after her grandmother accidentally calls her “Susan,” her mother’s name. That would be a stretch in and of itself, but Louisa and Julie have the same last name, implying that it is Julie’s father who was Louisa’s offspring, not her mother. What’s more Julie’s dad learned karate from Louisa’s husband, who learned it from Miyagi… that feels like a father/son thing to me. More and more, Louisa shouting “Susan!” feels like lazy writing. This is the point where people in the comments will start saying things like, “well, maybe her parents weren’t actually married” or “what if Louisa had known Susan since she was a small child and thought of her as her own” or somesuch. My response to that is: if the movie intended for that to be the interpretation, then damn it, they should have said it somewhere. Otherwise it is sloppy damn writing.
Then there’s Michael Ironside, the bad guy in this movie, as Col. Dugan. Dugan is… it’s actually not clear what the hell he is. Is he an ROTC instructor? A really intense coach? Whatever. The point is, he teaches physical education by verbally brutalizing students, then punching one. Granted, I’ve never been in the military and I know they go to extremes to break their cadets down and bring them back up, but I can’t imagine a school in this country where a teacher who clocks a student in the jaw is going to have their job come seventh period. Not only does he stick around, but he’s training his students to be criminals with absolutely no coherent reason or motivation behind it.
I try to give screenwriter Mark Lee at least a little credit for winking at the fans’ expectations. When Miyagi agrees to teach Julie karate in exchange for doing all the homework she’s missed, he immediately tries to pull the ol’ “wax on, wax off” routine again, but she’s having none of it. Okay, clever. But then his alternative solution for teaching her discipline is having her babysit the hellions next door. Nineties-era feminism, ladies and gentlemen!
I’ll give him this too – although Dugan’s thugs are the antagonists here, the fights don’t really get physical until the end. Julie isn’t learning karate because she’s getting the crap beat out of her like Daniel did, she’s learning it as an anger management technique. (The real violence doesn’t happen until they attack her date after he has the audacity to point out that they nearly killed themselves when they bungee-jumped into the prom.) That, at least, is something different. And there are a few nice moments with Miyagi learning how to deal with a girl, including one rather charming moment where she thinks he’s giving her a karate lesson, but he shifts it into a dancing lesson to get her ready for the prom. Again this is not a great moment for women in cinema, but it feels nicely in-character for Mr. Miyagi, which is sorely needed, as nothing else in the entire movie feels even remotely like the original.
The weird thing is, despite the many, many flaws with this movie, I still think it’s better than Part III. This is different and is trying to do something new, which isn’t a bad thing, whereas Part III was pure rehash and really added nothing of substance to the mythology of the franchise. It’s not as good as the first two, but after Part III, The Next Karate Kid was at least a step up before the series died.
Director: Steve Miner
Writers: Fred Dekker & Ethan Wiley
Cast: William Katt, George Wendt, Richard Moll, Kay Lenz, Mary Stavin, Michael Ensign, Erik Silver, Mark Silver, Susan French, Curt Wilmot
Plot: Things have been better for writer Roger Cobb (William Katt). His marriage has fallen apart, he’s stuck working on a book about the Vietnam War nobody seems interested in reading, and the elderly aunt who raised him was found dangling from the ceiling in her big, lofty home, victim of an apparent suicide. Cobb returns to the house, where he has flashes to his son’s disappearance in the mansion’s pool some time earlier, the incident that led to his estrangement from his wife Sandy (Kay Lenz) and which Aunt Elizabeth (Susan French) chalked up to her house being haunted. Now alone, Cobb decides to stay in the house that has already destroyed his family to work on his book. As he wanders the house alone, he sees a vision of Elizabeth stringing herself up, warning him to leave before she leaps to her death.
The next day he meets his new neighbor, Harold Gorton (George Wendt, who surprisingly doesn’t offer to buy him a beer). The visions in the house persist until he’s assaulted by a bizarre creature in the closet – an ugly mass that looks like a melted wax figure with claws. Instead of running in terror like a sane person, he sets up video cameras and tries to make the creature reappear, embarrassing himself in front of the neighbor. Harold, thinking Roger is having war flashbacks, contacts Sandy to warn her. Things in the house begin coming to life – a huge mounted marlin, assorted garden implements, and so forth – and Roger arms himself. Sandy arrives just then to check on him, but he sees her as a monster and shoots her. When he realizes what he’s done, he hides her body, unaware that Harold heard the shots and called the police. He nervously dismisses them, feeding them a line about his gun going off while he was cleaning it. Once they’re gone, though, he finds Sandy’s body missing.
The Sandy-monster attacks again, taunting Roger about his missing son, but he manages to use the levitating garden tools to behead it, and… yeah, I know that sounds utterly ridiculous, but that’s what he does, and then disposes of the monster’s body in the backyard in a montage set to Linda Ronstadt’s “You’re No Good.” The body parts keep coming back, though, even clinging to the child of his neighbor when he’s somehow tricked into babysitting. (The boy is nearly taken away by a pair of demonic creatures, but that’s really incidental to the plot.)
Telling him there’s a raccoon in his attic, Roger recruits Harold to help him confront the Thing in the Closet. Harold loses his grip, though, and the monster drags Roger through a portal into his own nightmares, the day in Vietnam when his buddy Big Ben (Richard Moll) was mortally wounded. He finds Ben, who begs Roger to kill him, but Roger can’t do it and flees back through the portal, where several hours have passed and Roger has gotten drunk, which never seemed to happen to him in 11 seasons of sitting in a bar every night. Finding a clue in one of his aunt’s paintings, Roger explores the house and finds his missing son, only to face a horrifying, skeletal vision of Big Ben. Ben’s ghost, it seems, has been behind Roger’s troubles, seeking revenge on his friend for leaving him alive and subject to the tortures of the Viet Cong before dying a brutal death weeks later. The two engage in a chase throughout the house, Roger finally triumphing and blowing up Ben with a ghost-grenade… just as the real Sandy arrives for a happy reunion.
Thoughts: Considering my love of 80s television, I’m really quite astonished that I’ve lasted this long on the planet without ever having seen a movie that starts the nigh-holy trinity of William Katt, George Wendt, and Richard Moll. That said, I’ve known of the existence of House (another Sean S. Cunningham joint) for as long as I remember watching movies. It was one of those horror movie staples on the shelves of the video store, the shelves I would browse even though I knew there was no way my parents would allow me to rent one of these movies and, instead, I’d walk out with Mac and Me or something else that I would be forced to shamefully admit on a blog almost 30 years later. On the first night of my “Freaky Firsts” experiment, when I told my wife I’d never seen it, she dove right in.
William Katt is one of those actors that’s almost impossible to divorce from his more famous roles – in this case, that of a teacher with an alien super-suit on the TV show The Greatest American Hero. Even keeping that in mind, he seems an odd choice to be playing a Vietnam vet in 1986. Admittedly, he was 35 years old at the time, old enough to have taken part in the war, but he has such a youthful appearance that I had to look up his birthday to convince myself he wasn’t pulling a Reverse Dawson.
This film is on the horror/comedy line, something I obviously enjoy. While balancing the creepy story, we get moments of pure slapstick, like Katt’s bumbling lawyer (Michael Ensign) almost shooting him with a harpoon gun and returning a sheepish “oops, did I do that?” look that would make Bugs Bunny proud. George Wendt, a man I will idolize until my dying day for his role on Cheers, brings his good-natured bumbling to the table the minute he appears on the screen, first badmouthing the previous owner of Katt’s house, then backtracking and trying to babble his way out when he learns she was Katt’s aunt. He spends most of the movie this way – trying earnestly to be a good neighbor, but at the same time fouling things up for Katt’s character in pretty much every way imaginable. Richard Moll, best known as the gentle giant Bull from Night Court, hams it up considerably as Big Ben, pulling a performance that’s equal parts manic and goofy.
The sillier aspects of the movie, in fact, go on much longer than I really expected. When Roger first walks away from the Thing in the Closet and the screen cuts to (presumably) the next day, when a truck full of camera equipment arrives, I looked at Erin and said, “Because you wouldn’t just get the hell out?” Before she could blame it on the 1980s, though, we’d already reached the point where Katt was bouncing through the house, into the yard, and shamefully trying to convince George Wendt he wasn’t crazy. And really, living as we do in a post-Big Mouth Billy Bass world, the mounted marlin flailing on the wall doesn’t really send shivers up my spine.
In some ways, the movie tries to do too much. The missing son subplot is sandwiched with the Vietnam flashbacks subplot, and together they sort of weigh down on Katt to the point where he comes across as a sad sack. One or the other tragedy probably would have been enough, and compounding them slightly disrupts that balance between horror and comedy. It’s not enough of an imbalance to ruin the film, but especially towards the end, you can start to feel the pressure of everything coming together, and not in an altogether satisfying way. The reveal of Ben as the big bad is a little disheartening as well, although part of that may simply be because… c’mon, it’s Richard Moll, and no matter how many tough guys he’s played, what child of the 80s doesn’t love that big lummox? More so, though, it doesn’t make a hell of a lot of sense. Why target Roger instead of the people who actually killed him? And Aunt Elizabeth clearly thought her house was haunted for a long time – when exactly did he start targeting her? And why her instead of Roger? Sure, this was pure 80s diversion horror at its finest, but to see it fall apart so quickly under just a little scrutiny is somewhat disappointing.
On the other hand, it’s nice to see a movie old enough that a lot of the things we take for granted aren’t yet tropes. There’s a moment, for example, where Roger is fumbling with a bottle of medicine at the bathroom sink, and I was 100 percent convinced there’d be a ghost or a skeleton or some sort of creature in the mirror when he stood up. Not only wasn’t there one, but with my expectations averted, I was totally unprepared seconds later when Sandy arrived and turned into a monster.
This is really indicative of the kind of horror movies we had in the 80s – at least, the ones that hadn’t tuned into the slasher subgenre. Movies like this, like Gremlins, like Critters… even, to a degree, like Poltergeist, all drew on on-school horror elements, but mixed in comedic moments much more freely than filmmakers are usually willing to do today. Modern films, at least mainstream ones, are terrified to legitimately blend comedy elements with terror – we’ve got torture porn and PG-13 demons on the one hand, and on the other pure parody like the Scary Movie franchise. I not only liked this movie, I admire it for recognizing that horror and comedy can co-exist in a way that post-millennium movies refuse to do.
House is neither a horror legend nor a comedy classic, but it has enough traces of each that I sincerely enjoyed watching it. The Halloween season is off to a great start.
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Many, many years ago, in a magical land called 2006, my local Wal-Mart had a sale on the Friday the 13th series. Although I’d seen some of the films before, I never saw all of them, and I took the opportunity to get the films, watch them all (some of them for the first time) and review them. It became an annual tradition. The next year, I recruited some of my friends to join me in a marathon of the Nightmare on Elm Street series, and when we launched our podcast, it became a special Halloween episode every year.
Earlier this evening, I got into a talk online about the merits of the various Friday films and that reminded me of this long-ago review. With Halloween coming up (my second-favorite time of year, after Christmas), I thought it might be fun to dust off that old post and re-present it here. I’ll unearth the other Halloween marathons too, and present them to you in the weeks approaching the big night. So let’s start here, from the long-ago past of 2006, when I reviewed all (at the time) eleven Fridays!
When I was a kid, I didn’t watch scary movies. For one thing, my folks didn’t let me – which in retrospect is probably a good thing in light of reason #2: I would have wet the bed every night for a month after seeing one. I was kind of a skittish kid, and even as my classmates would talk about how cool Jason or Freddy Krueger were, as much as I tried to join in the conversation faking my way through it, I knew that actually watching the scary movies of the 80s would be a really bad move, especially for my bedsheets.
As I got older, I started reading the likes of Stephen King and began to appreciate films like Alien and The Birds. By the time The Sixth Sense rolled along, it had finally dawned on me that I was majorly into horror, and it wasn’t keeping me up at nights. Although I may succumb to the cheap startle in a horror flick like anyone else, by the time the credits roll, the actual sense of danger has evaporated and I’m fine. The real world is frightening enough.
Even though I was into horror, I wasn’t into what I think of as the “slasher” genre. Buckets of blood and piles of gore wouldn’t even elicit a cheap scare out of me, and I avoided the movies handily. Then, a few years ago, my buddy Chase began to teach me how to appreciate the movies not as horror, but as camp. They were goofy, they were cheesy, and they were way over the top… and that’s what you’re supposed to love about them. By the time Freddy Versus Jason rolled around in 2003, I had decided to see it with my friends, but before that I wanted to at least see how the stories had started. I’d already seen the original A Nightmare on Elm Street, but I hadn’t seen any Friday the 13th movies, so the week before the release I rented the first two. They were okay, but very different from what I’d come to expect. I saw Freddy Versus Jason and thought it was brilliant as camp. Eventually, I saw a few more Jason movies, Jason Goes to Hell and Jason X.
As I was preparing the Halloween Party for my blog I discovered the local Wal-Mart had a biiiiiiiiig display of horror movies for only $4.58 (or something like that) a pop. Included in the display were all eight of the old Friday the 13th movies, the ones done before Paramount dropped the property. As I already owned the three movies made by its new home, New Line Cinema, I decided to pick up one or two of the classics at a time. Then, once I completed the collection, I’d do a massive Halloween Party article reviewing not one movie, not two, but all eleven motion pictures featuring Jason Voorhees. Because I’m crazy, that’s why.
So as you read these reviews, keep in mind a few things. First up, this is written through the perspective of someone in his late 20s who has grown an appreciation for both horror and camp, but is well aware of the distinction between the two. Second, this weekend Friday marathon will be my first time watching many of these films. Out of an 11-film series, I’ve only seen #s 1, 2, 11, 9 and 10. Oddly enough, in that order. And finally, these movies have been out for years – decades in some cases. There will be spoilers, especially concerning the first movie which (let’s face it) is the only one in the series that really has a big enough twist to even constitute calling it a spoiler. So without further ado, let’s begin.
The original Friday film was actually really reserved, especially compared to how far the series would go in future installments. Years after a pair of counselors at Camp Crystal Lake are murdered, the owner of the camp decides to reopen, apparently unaware that he is in a horror movie and these things invariably lead to people getting killed. As he brings in a group of teenagers to begin getting the camp ready for the summer – and this is the shocker – people begin getting killed. Particularly the more promiscuous ones, which in fact means virtually all of them, except for sweet little Alice. As Alice watches her friends die gruesome deaths all around her, she’s the one left to face the killer before it’s too late.
Like I said, this movie actually had a genuine surprise at the end, and if you don’t know what it is (or don’t want to know what it is), skip the rest of this paragraph. Actually, skip the whole article and go read my review of the Superman trick-or-treat pail again. Anyway, we’d spent the entire movie watching these kids get butchered by some unseen killer, and we thought Alice was finally safe when she met a nice, sweet little old lady names Mrs. Vorhees. Then Mrs. V begins telling the story of the camp, how a little boy drowned in the lake years ago because a couple of counselors were off being promiscuous in the fashion that gets teenagers in slasher movies killed instead of keeping an eye on the kid. Then Mrs. V goes a little loony, and before we know it, Alice is fighting for her life. Hence the twist: a cross-dressing Anthony Perkins aside, you just don’t expect the killer in a horror movie to be the little old lady.
It’s easy to forget, as the later films were focused firmly on making Jason an unstoppable machine, programmed to kill as many people as possible in as graphic a fashion as possible, that the original Friday was a pretty effective suspense flick for its day. It had all the hallmarks – surprising deaths, twists and turns and a killer you didn’t get to see until the very end. More than that, though, there weren’t even any hints of the supernatural killer Jason would turn out to be, except for a brief flash of him popping out of the lake in which he supposedly drowned at the end of the movie, in a scene that very easily could have been written off as a hallucination. The menace in the first movie was human – crazy Mrs. Vorhees, grief-stricken over her son, even muttering dialogue between herself and her boy in a particularly freaky sequence.
The acting was wooden, of course, and the effects don’t hold up at all, but all things considered, it wasn’t a bad little thriller. Which is what makes it so incongruous with the rest of the series. Now we want the big, crazy, over-the-top monster. The first movie doesn’t quite fit anymore.
Buoyed by the success of the film, the next year Paramount studios cranked out the first of what would be an interminable chain of sequels. We open up on Alice, who has apparently grown out her hair because she has nothing better to do while lying around having nightmares, then we get an extended sequence of archival footage from the first movie in case there was anyone who missed it, which seemed kind of redundant to me as the gap between watching the first movie and the second was only as long as it took to put a frozen pizza in the oven. Plus there was a perfectly good sequence later in the film where one of the new teenagers told the story of the first movie as a campfire tale, which did the job perfectly well without boring the hell out of the people who’d seen the first one. Also, it was kind of stupid as it gave us a good 10 minutes or so of getting reacquainted with our heroine, Alice, before (spoiler for ya) she winds up getting killed by Jason before we even see the opening credits.
After the credits we find out it’s now five years later and a new group of counselors is heading out to the lake, but not to Camp Crystal Lake. To the Camp next door. Because if there’s a psycho killer on the loose, he won’t make the hike or something. Actually, most of the new campers don’t believe the story at all, which makes them feel downright foolish when the first person gets garroted against a tree trunk with a string of barbed wire.
This is Jason’s first time out as the killer (although he didn’t yet have his trademark hockey mask), and he was quite a different character from who he would later become. He still didn’t speak, and he had a burlap sack over his head for most of the film, but he wasn’t the mindless beast we’re used to. He actually had intelligence. He laid traps. He came up with some clever murders that didn’t rely on conveniently placed props or explosive devices. And what’s more, he was human. Strong, yes, and a cold blooded killer, but still not the super-zombie we would all grow to know and love. Still, it’s a step closer, and this is probably where real devotees of the franchise began to fall in love with it.
The ending works fairly well, as the Obligatory Last Teenage Girl pretends to be Jason’s mother and confuses him long enough for them to make their escape. Of course, as we know from the first movie, there’s still room for one more shocker at the end.
The third installment in the franchise took an interesting path – the movie was filmed in 3-D. This was no doubt very cool in the theaters, but just makes it look a little silly on DVD without the benefit of the funky glasses. [2013 Note: Remember, I wrote this in a pre-Avatar universe where there was little to no demand for 3-D movies and I, as a viewer, had not yet grown violently angry about how the technique is overused.] There are tons of shots that clearly serve no other purpose than to take advantage of the gimmick – knives and pitchforks thrust right at the screen, a snake jumping out at you and other such things. There are also a lot of shots like this that probably seemed nonsensical even when it was in 3-D – a totally irrelevant shot of a baseball bat pointing at the screen while some kids are playing in the street, a few stoners shoving a joint at the camera, a yo-yo scene that no doubt got this film serious Academy Award consideration, a crazy old man waving around an eyeball shouting warnings and so forth. On the upside, we did get the funkiest opening credit sequence in the series so far.
The story is exactly what you would expect. The film opens with an extended flashback from the previous film, then we find out it’s the next day (which means it’s no longer Friday the 13th, doesn’t it?) as couple in a general store down the road watch the news reports about the killings. Things don’t turn out too well for them. Next, a group of teenagers decide to go up to “the lake” where a bunch of people have been killed, because teenagers were as stupid in 1982 as many of them are today, and Jason starts slaughtering them. Actually, the teenagers in this series are even stupider than most of the other ones – the girl whose family owns the farmhouse where the teens are staying actually escaped an encounter with Jason two years earlier, but she decided not just to come back anyway, but to bring all of her friends with her. She would most certainly be off my Christmas Card list.
We get a few series milestones in this film – we see Jason acquire his now-trademark hockey mask and machete, we see the beginnings of the strains of humor in the series, and we also introduce, for the first time, the Dork Factor in the character of Shelly, an afro-ed prankster who keeps scaring the hell out of the other characters in a series of pathetic attempts to be liked. I think we’re supposed to sympathize with him, but by the time he starts popping out of the water under the dock, we’re kinda waiting for him to die.
Jason honestly doesn’t come off very well in this movie. Sure, he gets to kill people, but he often comes across as kind of clumsy – even buffoonish. The things the obligatory Last Surviving Teenage Girl does to him, successfully slowing him down just enough, turns him into a monster that Abbott and Costello could have had a ball with. I guess that’s understandable, though – in this installment, Jason is still at least kind of human. He still hasn’t become Superzombie. Not yet.
The story structure as a whole is pretty poor, actually. Early in the film one of the teenagers announces she’s pregnant, after which the filmmakers make the bold choice of completely ignoring that plot point for the rest of the film. Then, after an hour of fake scares and the occasional killing – often off-camera – we get ten minutes of a bloodbath, then the remaining 20 minutes are the surviving teenage girl running around and screaming.
Ah well, when I got into this, I wasn’t expecting Orson Welles or anything.
In perhaps the single most misleadingly-named film outside of The Neverending Story, the filmmakers tried to wrap up the series by killing off Jason far more definitively than they had in previous installments. Clearly, it didn’t take.
This time out, we begin with a montage from the three previous films, framed in the campfire story from Part 2, which actually works pretty well. Then we pick up right at the end of Part 3, as they take Jason’s body to the hospital. (The hospital? Come on, guys.) There, of course, he wakes up and kills a very nice young couple making the mistake of doing the dirty down in the morgue, which now that I think about it, doesn’t really make them all that nice to begin with.
Then our attention shifts to – you guessed it – a group of teenagers trying to have a fun little weekend. (Apparently the second, third and fourth films in this series all take place during a bizarre chronal anomaly which resulted in five or six Friday the 13ths being held one after the other, without any of those pesky Saturdays or Thursdays getting in the way). This time out, one of the teenagers has brought along her little brother Tommy – played by Corey Feldman. The sad thing is, were it not for Goonies, this clearly would have been the high point of his career.
The filmmakers then begin to try to make up for the lack of sex in Part 3 by throwing about ten times more than in the first two films combined. We’ve got twins, we’ve got vintage films, we’ve even got Crispin Glover as one of the teenagers who should have known better than to have sex while Jason was around. (The sad thing is, were it not for Back to the Future, this clearly would have been the high point of his career.)
I’ll give director Joseph Zito credit – this is the film where the deaths in the series really started to get elaborate. They weren’t too over-the-top yet, but Jason was no longer content with simple stab wounds and the odd strangulation. Here we’ve got people slaughtered with corkscrews, killed through movie screens, crushed through shower glass – he goes all out.
Then finally, little Tommy comes up with a plan. He shaves his head and pretends to be baby Jason, confusing the big brute. (Anyone who thinks this sounds suspiciously like how he was defeated in Part 2, there’s a reason for that. It is suspiciously like how he was defeated in Part 2.) Lil’ Tommy then gets Jason in the head with a machete, which apparently is supposed to be more effective than being knifed in the chest with a machete, hung in a noose and getting an axe lodged in his skull, because those didn’t seem to work in the last two films. Then, in a rare burst of common sense for these films, Tommy sees Jason’s hand twitch and, instead of screaming, running away and/or getting slaughtered after the killer appeared to be dead, he just picks up his machete again and goes to town.
So Jason is dead, but Tommy is clearly very disturbed by the whole thing. Still, it’s all over now. Right? Right?
Paramount couldn’t even wait a year before changing its mind on this one. Apparently in this franchise, “final” means “final” in the same way that “dead” means “dead” in a comic book universe, a philosophy that would later be adopted by the makers of the Final Fantasy video game series and the Final Destination franchise.
Jason, who’s busy being dead, gets a break after three films that run right into each other. It’s a few years later and Tommy (now a rugged teenager played by John Shephard) has been institutionalized due to his childhood trauma. He’s sent away to a retreat where he shares his hideous rubber masks with Steve Urkel’s pal Weasel from Family Matters (not a joke, friends, I looked this up). As he tries to acclimate to life at the home, he meets the other teens, each of whom is troubled in his or her own way. One of them, for example, is troubled in that he goes bonkers and hacks up one of the others with an axe. This is widely regarded as a bad thing, as later that day other people start getting hacked up in ways very reminiscent of Jason’s murders at Camp Crystal Lake.
There’s lots of blood, lots of hacking, a truly disturbing eye fetish, and the psycho in the hockey mask returns. We’re all supposed to imagine that this is Jason back from the dead, but frankly, it’s not very convincing. Yeah, he’s tall, but the hockey mask is all wrong and the big, bulky Jason is now built like a skinny little basketball player. In the end Tommy and his friends (and here’s another spoiler warning) manage to kill off Jason by chucking him off the side of a barn onto a conveniently-placed array of spikes. As he dies, his mask falls off and we realize it wasn’t Jason at all, but Roy Burns, one of the docs who investigated the killing of the teenager back in the beginning… who evidently was his son, whose very existence he managed to keep a secret all this time. Okaaaaay, if you say so.
For all its flaws, I do believe in credit where credit is due. This movie comes across like a clear attempt by the studio to escape the crutch of having to kill off Jason in at the end of every movie only to have to bring him back at the beginning of the next one. Switching killers and then implying that the evil had traveled on to someone else at the end wasn’t that bad an idea, and at least was more intelligent than the Halloween franchise’s attempt to divorce the property from Michael Myers in its third installment. But let’s face it, fans of Friday want Jason, and this movie didn’t feature Jason at all. Hey, wait a minute… “didn’t feature Jason at all?” Wasn’t my stated purpose at the beginning of this experiment to review “all of the films featuring Jason Vorhees?” Could I have skipped this one on a technicality? Aw, crap.
Okay, this is where it really started to get ridiculous.
About a decade after the events of A New Beginning (judging by the fact that Tommy is now played by Thom Mathews, who looks like he’s in his 30s, which is a neat trick for someone who just two movies ago was not only 12 years old, but also Corey Feldman), Tommy can’t escape the spectre of Jason. He grabs his friend Allen and… hey, wait a minute. Is that Horshack? Is that freaking Horshack from Welcome Back, Kotter? playing Allen? Okay, this movie automatically gets ten more cool points. Don’t worry, it’ll lose them by the opening credits.
Anyway, Tommy is freaking out about Jason, so he and Allen go to dig up his corpse and cremate him. Tommy freaks out, though, and stabs Jason’s body with a metal pole. This proves to be a really bad idea, when lightning strikes the body and reanimates it. Yes, friends, it’s Superzombie! He’s finally here! As he pulls himself out, Tommy runs away like a little scaredy cat and Jason imitates the opening titles of a James Bond movie.
Tommy runs to the police, who very presciently throw him in jail, where Officer Expository Dialogue reminds him that they changed the name of Crystal Lake to “Forest Green” because they wanted people to forget Jason. Meanwhile a young couple in the woods runs into Jason and the girl utters a phrase that manages to even the movie out on the Cool-Point-O-Meter again, “I’ve seen enough horror movies to know any weirdo wearing a mask is never friendly.” Ironic, self-referential humor always appeals to me.
Back at Camp “Forest Green,” yet another group of teenagers is setting up to be counselors for the summer. Also, for the first time, we see some actual campers at camp. Go figure. As the teens get the camp set up, we visit a bunch of comical would-be-warriors playing paintball and taking it way too seriously, which is what makes it kind of cathartic when they start to die.
The survivalists are actually just the start of showing off the crapitude that would be Jason Lives. The filmmakers in this go-round really tried to go for the laughs in addition to the killing. There’s not anything wrong with this, in and of itself. There’s a proud tradition of horror/comedies, from the good ol’ days of Abbott and Costello Meet Frankenstein all the way up to modern classics like Army of Darkness. The thing is, a good horror/comedy must be both frightening and funny. Jason Lives was neither.
The only really good thing I can say about this movie is that at least the filmmakers had the good taste not to blow their wad and have Jason kill off an entire cabin full of children when he burst in on one. That, I think, would have gone too far. Yeah, we want to see Jason killing, but killing punk teenagers. Fact is, in movies like this you almost kinda root for the killer, you want to see how he’ll up the ante. Going after the kids would have been too much.
Tommy again manages to beat Jason, this time following the completely out-of-the-blue announcement that “the only way to stop Jason now is to bring him back to where it began… Camp Crystal Lake.” And how does Tommy know this exactly? Apparently that home for troubled teens he stayed in during the last movie had an extensive course study on occult manifestations and how to exterminate them. That or the screenwriter was a hack, take your pick. Anyway, Tommy finds a convenient boulder which he wraps around a chain and puts in a canoe. Yeah, I know. Then, in a fairly unconvincing fight piece, he loops the chain around Jason’s neck and drops him in the lake. His girlfriend then jumps in to hit Jason in the head with a boat motor, and everybody lives happily ever after, except for anyone who actually paid money to see this. Horshack and self-referential humor aside, we’ve hit the real low point in this series.
C’mon, did anyone really think a little thing like being stuck on the bottom of a lake was going to stop Jason? Part VII opens up with another montage sequence of scenes from the previous films, all of which basically make one point that everyone seeing the movie already knows: Jason is a bad ass. Oh, and he’s stuck at the bottom of the lake. Jason is a bad-ass stuck at the bottom of the lake.
The movie opens with a little girl who runs out into a boat on the lake and somehow kills her father. Seems she’s got some telekinetic powers, those funky things. Years later, as (wait for it) a teenager, she comes back, lamenting her father’s death, and winds up accidentally freeing Jason from his watery prison. Soon, a bunch of teenagers up there for a birthday party start getting killed.
This is actually a vast improvement over Jason Lives. They filmmakers mostly abandoned the idiotic slapstick that killed the previous movie, and Tina – while coming across as a “Carrie Lite,” does make for an interesting adversary. Terry Kieser (the “late Bernie” himself) does a suitably despicable turn as a self-important doctor hoping to study her condition, with no thought for what havoc his little experiment may cause. This is also the first appearance of Kane Hodder, who would play Jason three more times and who many fans consider the definitive performer. He’s good – big, imposing, frightening, and the makeup and costuming has improved a lot as well. Chunks of flesh have fallen off, you can see spine and ribcage, and he really looks menacing for the first time.
Is it a great movie? No. But it’s better than the series had been since its earliest installments, and a well-needed jolt of what makes the monster so much fun.
It’s time to travel! With the Crystal Lake region done to death, for their final Friday, Paramount Pictures put Jason out to sea and then on to the mean streets of New York City. The film begins with a pair of rambunctious teens spending the evening on a yacht on Crystal Lake. (Apparently Crystal Lake is connected to a river. This was news to me.) While they’re having their fun, their anchor drags a submerged power cable into Jason’s body, jolting him back to life. The moral of the story? Once you’ve finally got Jason dead, put whatever’s left in a rubber box, for God’s sake. Jason thanks the teens who resurrected him in his own inimitable style, and then the story takes off.
The next day we see a group of high school graduates taking a cruise for their senior trip – a cruise to New York. You know, when I think of great cruise destinations, I think: the Caribbean, Cancun, New York. But that’s where they’re going, especially our heroine du jour, Rennie, who is terrified of the water. Would that this were the only thing to be terrified about. Jason has stowed away aboard the ship, and the killing begins.
For a movie ostensibly about Jason “taking Manhattan,” it sure takes long enough to get there. The first hour of the film takes place on the ship, with Jason killing people in various clever and distinctively nautical ways. Finally, the survivors make it to New York, and Jason is hot on their heels, ready to begin the killing there. All the time, Rennie keeps having flashes of Jason attacking her even when he’s busy elsewhere.
I was actually surprised by this movie. Based solely on the title, I was braced for another Jason Lives level of camp and crap. The first hour, though, is actually pretty good. I’ve got a penchant for “claustrophobic” horror movies, where the protagonists are forced to fight for their lives in an enclosed space with little or no hope of escape, and the shipboard battles fit that bill very well. Once we make it to New York, it’s not as strong. It’s still basically the same few characters running around with Jason, occasionally drawing in a gang banger or bystander to take a hit and allow someone else to live another scene or two. The filmmakers totally squandered the potential of having a killing machine like Jason in a major metropolitan area – so much could have been done with that premise, but except for a brief chase on a subway car, it isn’t even touched on. I’m also not a fan of the new powers Jason started whipping out in this movie. Superzombie is one thing, but a psychic, teleporting superzombie? That’s a bit much. Jason works best as the unstoppable killing machine/mama’s boy. Let’s leave the psychic stuff for the Tinas of this series, shall we? They also worked in some unnecessary (and out of character) humor bits, like Jason scaring away a group of gang-bangers by taking off his mask and revealing his face, allowing them to escape. Um… since when does Jason actually care about scaring people? He just wants ‘em dead. For that matter, letting them escape is pretty preposterous too.
After this film, Paramount apparently gave up on the property, resulting in a four-year gap before the next movie, the longest at the time. Then New Line Cinema bought the license, but apparently not the trademark, because none of Jason’s subsequent appearances have appeared under the Friday the 13th moniker. In fact, the next time we saw Jason was in…
Why New Line would resurrect the franchise just to (pretend to) finish it off is beyond me. Why they made their first venture into this series such a bad one is even more perplexing. The DVD I have features both the “R-rated” and “Unrated” versions of the film. I went with the unrated version for this review, assuming there’s nothing in the whopping three minutes of extra footage that would be too much for my fragile little mind.
The last time we saw Jason, he’d been wiped out by a wave of toxic waste beneath the streets of Manhattan. This time, the filmmakers (including Friday creator Sean S. Cunningham, who came back for this “final” installment) didn’t even go through the pretense of showing how this film relates to the previous one. Jason pops up at the very beginning, hale and hearty, chasing a girl in a towel through the woods. Oh, but she’s not just any girl in a towel – she’s an FBI agent. After several movies of trying to pretend Jason didn’t even exist, it seems the authorities have finally wised up. The girl is bait for a sting operation that involves lots of guns and at least one explosive charge. Jason blows up. Jason blows up good. We’ve got body parts strewn about, a head flying through the air and a still-beating heart lying on the ground. And that’s before the credits.
As the coroner examines Jason’s remains, he sees the still-beating heart and – because this is what coroners do with still-beating hearts – eats it. Then he goes on a killing spree of his own. Flash to a TV interview with a big-name bounty hunter, Creighton Duke, who claims that Jason has the power to change bodies the way normal people can change clothes, and only he knows how to defeat him. Back in Crystal Lake, he approaches a waitress at a local diner, saying that only she and her daughter can stop Jason once and for all, and if you don’t know where this is going yet, you haven’t watched enough horror movies.
What with one thing or another, we find out the waitress’s daughter, Jessica, is dating the TV host, Robert, and has a child of her own with a local boy (Steven) that she’s estranged from. The waitress is killed, Steven is thrown in jail and he meets Duke. After a nicely sadistic finger-breaking sequence, Duke explains what anyone who’s ever seen a horror flick should have been able to figure out for themselves – through some convoluted twist, the waitress was Jason’s long-lost sister, making Jessica and her child his last two blood relatives, which means they’re the only two people who can either kill him once and for all or bring him back to his own body.
Steven escapes from jail and hightails it to the Voorhees house, where he finds a book that one of the prop guys stole from the set of Army of Darkness but which otherwise serves absolutely no purpose. He also overhears Robert on the phone laughing over the fact that he swiped the waitress’s body and stowed it away here for the sake of ratings. It’s his last boast, however, as Jason’s previous host then takes his body, and continues the carnage.
Eventually, Jessica and Duke wind up at the Voorhees house, where he tosses her a switchblade which then mysteriously transforms into a… um… magic dagger. And he tells her that only she can send Jason to Hell, tonight, “for all time.” He also informs her that she can’t trust anyone, because Jason could be in anybody’s body at this point. This turns out to be true, but only because Jason has suddenly, spontaneously developed the power of speech. Sure, just because none of his other hosts could talk, why should it be a stretch that this one suddenly can?
Jason jumps into the dead waitress’s body, which then turns into his, and Duke gets killed as Jessica wastes precious seconds trying to get the dagger out from under a dresser because, apparently, she doesn’t want to bend over the extra three millimeters it would take to reach it. Steven and Jason have a big final battle scene while Jessica (again) tries to grab the dagger. She finally stabs him with it, which results in a peachy little lightshow and a bunch of hands popping up from under the ground to drag him off to hell. A couple of the hands also grab Steven and try to pull him down. Jessica winds up saving him, but she takes a really long time to decide to do it, considering that he’s the father of her child and has saved her life about a billion times during this movie.
The movie, as a whole, is full of plot holes, terribly convoluted and utterly out of synch with the rest of the franchise. It does, however, get points for the single coolest shot in the entire series at the very end. New Line took advantage of its new property to give fans something they’d been craving for a decade – as Jason’s mask lies in the dirt, one last hand pops up to drag it down with the rest of him… a hand with long, sharp knives on the fingers. That’s right, fans wanted to see Jason take on Freddy Krueger of A Nightmare on Elm Street fame, and now that New Line owned both properties, was it going to happen?
Yes. But not for another decade. At any rate, the only way this could be considered “The Final Friday” is if we assume future installments did away with the crutch of trying to place the events on Friday the 13th and decided they could happen at any old time. Still, it would take a good eight years before Jason would grace the screen again.
After eight years, New Line decided “to Hell with this final stuff (pun intended), let’s bring him back. But this time… let’s make it a sci-fi movie!” So in the near future, Jason has been captured (how did he get out of Hell?) and is awaiting cryogenic suspension at the Crystal Lake Research Facility. One of the bigwigs has decided he doesn’t want Jason frozen, though, he wants him “soft” so they can continue to study his amazing regenerative powers. Which may well be the stupidest decision in the history of the planet. Jason, of course, cuts loose and begins a killing spree that doesn’t end until he and Rowan (the hottest female scientist) are frozen in cryogenic sleep.
Over 400 years later, they’re found by a group of scavengers (all of whom, coincidentally, appear to be teenagers) sifting through the ruins of a dead planet Earth. They find the two frozen bodies and bring them to space, anticipating that Rowan can be revived. She’s reanimated and brought around with the help of handy nanobots, and begin to study Jason’s corpse. Unfortunately, the scientists don’t seem to comprehend that with Jason, you don’t need nanobots to wake him up, you just need him to thaw out. And yes, the killing begins anew.
Jason slaughters lots of people really good, including the ship’s pilot, which in turn causes the spaceship to crash into the Solaris station instead of docking with it, as was the plan. The entire space station blows up, pretty much ensuring that Jason breaks his record for body count with this one. As the survivors flee, the professor who saw so much profit potential in Jason utters what has to be one of the dumbest things ever said in this franchise, “Guys, it’s okay! He just wanted his machete back!” Okay, yeah, they were going for the funny there, but still.
The survivors try to escape, and one of them finds love with his android (aaaaaaaw). Then he upgrades the android to turn her into a fighting machine, giving us the closest we’ll probably ever get to a Jason Versus Ripley battle scene. She blows him all to smithereens, but happens to knock his body right into the medical hold where all those helpful little nanobots are. So while the others wait for a rescue and prepare to blow up part of the ship so the rest of it will stay in one piece long enough, the shipboard computer (showing the sort of poor judgment that has given shipboard computers a bad name since 2001) rebuilds ol’ Jason. He’s not just Superzombie anymore. Now he’s Cyber-Superzombie! Sadly, his snazzy new duds don’t make him any more agreeable, and he keeps a-comin’. A few more people die, although remarkably, none actually are killed directly by Uberjason (one blows himself up, one dies in explosive decompression and the last one rides Jason into burning up in the atmostphere). Jason falls to the surface of “Earth 2,” and whatever’s left of him just happens to touch down on the bottom of a lake… beside which we have a couple of teenagers out camping. This is supposed to be poetic, I suppose. Anyway, the few survivors seem to have a little happily ever after potential, so good for them. As far as Jason, hopefully this little glimpse of the future was the last, because it just didn’t work. If it had been done right, this movie could have been another Alien. Instead, it was another Alien: Resurrection.
If you’re wondering how Jason got out of Hell after part nine, this film would seem to be your answer. More importantly, it gave horror geeks something they’ve wanted for nearly 20 years – a face-off between the two most popular slasher film stars of all time. Ten years after the teaser at the end of Jason Goes to Hell, we open up with the story of Freddy Krueger, a child killer who was burnt alive by a mob of vengeance-seeking parents. Freddy’s demonic spirit couldn’t be quieted, though, and he gained the power to attack children and teenagers (always with the teenagers) in their dreams. Thing is, Freddy only has power over your dreams if you’re afraid of him, and the parents of his little town, Springwood, are drugging their kids to suppress their dreams and make them forget Freddy ever existed. Down in Hell, Freddy finds Jason Voorhees, and sends him back to the surface to wreak a little havoc, bring back the fear, and let him cut loose again.
Jason heads straight for the house where Freddy’s most infamous killings took place, and where there just happens to be a new teenage girl, Lori. Lori is depressed because her boyfriend, Will, up and moved away without as much as a goodbye, so her friends bring over a couple of guys to cheer her up. One of them goes upstairs for a little fun with his girlfriend, which is Jason’s cue to have a little fun of his own. The cops are called and Freddy is the immediate suspect, even if they don’t want to even say his name out loud. Freddy makes a play for one of the other teens, but he isn’t strong enough, so he give a brief soliloquy about letting Jason have some fun. After 10 movies with a bad guy who doesn’t even so much as grunt, it’s a little disconcerting to suddenly have a baddie who yammers on for hours on end. Of course, that’s one of the things that gives these two such distinct personalities.
Turns out, though, Will didn’t just run off from Lori, he was placed in a mental institution because Freddy was too strong in his mind. When he sees Lori’s house on the news as the scene of an attack, he and his friend Mark break out and run to the rescue. Back at school, the class nerd expresses his concern for Lori and a guy who apparently was cloned from Jason Mewes starts handing out flyers for a party. Will and Mark pop up with Freddy’s story on their lips and people start getting more and more terrified, which of course is just what Freddy wanted. Mark figures out that the institution was a place to quarantine everyone who had contact with Freddy, like he did when his brother, Scut Farkus, “committed suicide.” Fortunately, even after four years in a mental institution, he’s still got his van (which he apparently got when he was 14), and Will sets off to find the girls at Jason Mewes’ party, which happens to be in the middle of a cornfield.
One of Lori’s friends wanders off on her own and winds up getting drawn into Freddy’s Dreamworld boiler room, where he’s at his strongest. Before he can take her out, though, Jason kills her in the real world, denying Freddy his kill, which he doesn’t take well at all. Jason crashes the rave and some enterprising Horatio Sanz wannabe (I swear, when they decided to cobble together the two leads from previous movies, they just gave up on having any original characters in this movie) sets him on fire. In a dry cornfield. You know, it’s actually a mercy he was killed off before he graduated high school and entered the work force.
The kids escape and Freddy starts killing people himself. Meanwhile, the only cop in town whose head isn’t up his ass recognizes the similarities between the new killings and the Jason Voorhees legend. He meets up with the teenagers and they put everything together in a painful sequence of expository dialogue, culminating in them heading back to Will’s institution for more of the dream-suppressing drug. Freddy and Jason both show up to cause terror, and somehow along the way the kids decide that Jason is the lesser of two evils. They get him drugged up and haul him back to Crystal Lake, where he’ll have “home field advantage” over Freddy. While they’re doing this, Freddy and Jason face off in the Dreamworld.
The mandate must have been to have them battle on both of their home fields, because the kids manage to yank Freddy out of Dreamworld to do battle at Camp Crystal Lake, which has apparently been rebuilt and abandoned again since Jason Goes to Hell. As usual, both of them prove to be imminently distractable, which gives the remaining kids just enough time to set up a firetrap on the dock, which Jason really should have been ready for since Tommy Jarvis nailed him with the same thing in Jason Lives.
The final battle sequence is actually pretty satisfying. It’s a bit over-reliant on a highly convenient construction site there at the camp, but Freddy and Jason each get their licks in and there’s a lot of blood to go around. You’ve also got to give the producers credit for actually having the guts to show a winner. (Sorry, Freddy fans, but when one of the characters ends the movie with a head attached to his neck and the other one doesn’t, he can wink all he wants, but he’s still lost.)
So there you have it, sports fans. All 11 Jason Voorhees films, viewed and reviewed in a 48-hour stretch, because I clearly have lost my mind. What’s even crazier – I enjoyed it. Even the really bad ones. I’ve seen ‘em all now. The worst of the bunch? Easily Friday the 13th Part VI: Jason Lives. The best? I’m gonna call that a toss-up between Friday the 13th Part 3 (yeah, I know I was kind of down on it in the review, but this is the film where Jason as we know him really began to take shape) and Friday the 13th Part VII: The New Blood. The most fun? Freddy Versus Jason, because the geek in me will always give it up for a great crossover. Is this the end of Jason? Probably not – reports are that there’s a Freddy Versus Jason 2 in the works, possibly bringing in a character from a third horror franchise (God, I’d love to see Ash take on those two), and there’s supposedly a new Friday solo film in talks as well.
As for me, I think I need to cleanse myself – go watch some Looney Tunes or something to wash all the blood out of my system. But if you enjoyed reading this as much as I enjoyed whipping it up, let me know. There are plenty of other horror franchises out there. Maybe in next year’s Halloween Party, it’ll be Freddy’s turn.
[And it was. But here, just for the sake of completion, is the review I wrote of the Friday remake in 2009.]
One of the many wonderful things about Erin is that she not only tolerates the kind of movies I watch, she makes me promise to wait for her to watch them. So today, she and I went out to catch the remake of the 80s horror staple Friday the 13th. If you may recall, a while back I actually reviewed all of the previous films in the franchise, so you can consider this a sort of addendum to that review series.
This film, like producer Michael Bay‘s remake of The Texas Chainsaw Massacre, is sort of an updating of the horror legend. The film begins some 20 years after the death of Pamela Voorhees, a mother who murdered a slew of counselors at Camp Crystal Lake whom she believed caused her son Jason’s death. (This, of course, was the plot of the first movie.) In the here and now, a group of teenagers (it’s always a group of teenagers) comes up to the lake in the hopes of finding a large crop of wild pot purported to grow here, quickly allowing the movie to cast aspersions on all three of the vices that get kids killed in these movies — sex, drugs, and alcohol. Six weeks later, the brother of one of the teens goes to the camp to search for her, at the same time as a second group of oversexed, alcoholic, pothead kids rolls up to spend a weekend away from it all.
“Away,” unfortunately for them, means “right in Jason’s backyard.”
There’s actually a lot of good in this movie. The plot isn’t just a carbon copy of any of the previous films, although the film goes out of its way to include all the tropes that made them popular. The brother, played by the kid from Supernatural whose name I can’t spell and am too lazy to look up, is a stronger male lead than most of the heroes of the franchise, and we get two fairly well-rounded female characters as well. The rest of the characters are all painful stereotypes, including the slutty blond, the jackass boyfriend and the black guy who feigns offense at unintended racial stereotypes. Seen it.
Jason himself is quite a departure from previous incarnations of the character. This is a much smarter Jason. He doesn’t just march through the film mindlessly killing everyone with whatever he has at hand. This is a Jason who thinks. Who sets traps. Who uses a light switch. He’s got a brain. As a result, he’s nearly an entirely different character.
In the end, actually, that’s the main drawback for the film. Jason is almost a different character, and the film is almost a different franchise. It’s not that it’s bad — I mean, it’s not great, but it’s at least as good as at least half of the old films. But it’s not really the same, and it’s supposed to be. It’s the Coke Zero of the franchise. You can tell it’s supposed to be the same, and it’s not bad, but it still tastes different no matter what the commercials tell you.
Writer: Laura Phillips
Cast: Dave Goelz, Steve Whitmire, Kathryn Mullen, Jerry Nelson, Richard Hunt, Camille Bonora, Brian Henson, Marsha Moreau, Zachary Bennett, Jim Henson
Plot: Rugby the Tiger (Dave Goelz) and the rest of the toys in Jesse and Jamie’s playroom (Zachary Bennett and Marsha Moreau, respectively) have an active existence, coming to life and playing whenever their children leave the room. They have to be careful to be in the same spot where the humans left them, though, for if they’re found out of place, they’re frozen forever. When the toys learn it’s Christmas Eve, Rugby is astonished. He remembers last Christmas, when Jamie found him in his brilliant box beneath the tree and he became the center of her world… he never imagined it would happen again. The old teddy bear Balthazar (Jerry Nelson) tells the toys to be ready to welcome the new toys into their midst, pointing out how the doll named Apple (Kathryn Mullen) was upset when Rugby stole her spotlight the year before. As Bathlazar tries to talk to Rugby about what’s about to happen, the catnip mouse named Mew (Steve Whitmire) tells them Rugby has left the playroom to get back under the Christmas Tree, where he believes he belongs. A clown doll named Ditz (Goelz again) steps out of the room to call Rugby back, but he’s found by the children’s mother, who tosses him back into the playroom. Ditz is now “frozen” – unable to move, unable to speak… essentially dead. The rest of the toys sadly bring him to a sort of graveyard in the closet for other frozen toys. As the rest of the toys grieve, Mew sneaks out alone to try to save Rugby.
Mew finds Rugby trapped in the linen closet, locked in after he got mixed up with some clothes. When he tells Mew how spectacular Christmas is (for Rugby, that is), Mew decides to help him back under the tree, showing him the real cat’s trick for opening the door. Back in the playroom Apple assembles a rescue party to go after Rugby and Mew. Rugby makes it to the Christmas tree, where a lovely box for Jamie is waiting to be opened. Mew gets the ribbon off just as Apple and the others find them. She implores him to leave the box alone, but Rugby ignores her. When he opens the box, instead of it being empty, he finds a new doll, a beautiful warrior woman who proclaims herself to be “Meteora, queen of the asteroids (Camille Bonora)!” Meteora rushes off and Rugby tries to seal himself inside her box, but Apple re-tells him the story of last Christmas from her own perspective, when Rugby took her place as Jamie’s favorite toy. As Rugby finally realizes the truth, he still tries to get in the box, and Apple and Mew remind him that he’ll be frozen if the humans find him. Meteora knocks over a chess set, and the noise summons Jamie and Jesse’s father. Before he sees the toys, Mew lets out a very convincing “meow.” Believing it’s just the cat, father goes back to bed. The other toys convince Meteora to return to her box by singing her praises and telling her how she’ll be recognized as a star come Christmas morning. Once she’s wrapped again, they head back towards the playroom. Just as most of them make it back, though, Mew slips from Rugby’s tail and is caught in the hall as the children’s mother opens the door. Rugby rushes to try to save him, but he gets trapped in the linen closet again when mother finds Mew and takes him downstairs to the cat. Heartbroken, Rugby retrieves his friend’s frozen body and tearfully sings him a song to tell him he loves him. Miraculously, Mew begins twitching, and wakes up. In the playroom, the rest of the toys take up the song as the frozen toys in the closet pick themselves up and stumble back to life. The next morning, Jamie and Jesse bring their new toys to the playroom (while the cat, Luigi, drops off a new mouse), and the rest of the toys welcome them. Rugby feels a moment of sorrow while Jamie tells Meteora she loves her, but spirits are lifted all around as she says the same to Apple, and to Rugby himself.
Thoughts: Once more to the Jim Henson company, friends, and to one of my favorite lesser-known Henson productions. The Christmas Toy, from 1986, was one of these specials that led into a (sadly short-lived) TV series, The Secret Life of Toys, about toys that come to life and play whenever their humans leave the room. Nine years later, of course, Pixar Animation would take the basic plot of this special and turn it into a billion-dollar franchise for Disney. And I’m not just talking about the “toys coming to life” part – let’s be fair here, everyone who has ever been a child has imagined that their toys come to life and have adventures of their own when they aren’t around. Of course, there’s also the notion of the comfortable favorite toy suddenly having his prominence threatened by the introduction of a cool new space toy… who doesn’t realize she IS a toy and thinks she’s really in… outer… space… Okay, look, I love Pixar as much as anybody, but if Jim Henson’s ghost had started haunting the crap out of their studio after the first Toy Story came out, he would have been entirely within his rights.
I remember watching this special as a child (I would have been nine the year it came out, so it’s likely I was part of the audience for the premiere) and loving it immediately, even wearing out a VHS copy taped from ABC. Looking back at it as an adult, it’s impressive to me how dark Henson and company were willing to get with these characters. Rugby, at the beginning of the special, is terribly arrogant and unlikable. When he starts singing that he was “the greatest Christmas toy of all,” you kind of hope he does get frozen.
Then there’s the “frozen” concept itself – for a small child, this could be terrifying. Think about it here… you’re little, you’re just starting to gain a comprehension about what death actually is and what it actually means… and then you watch a Muppet special where the lovable mouse drops dead because somebody looks at it. I don’t actually remember the spin-off TV show very well, but I’m pretty sure they dropped this particular aspect when it went to series, and that’s probably a good thing. It definitely adds a note of suspense and danger to the story, but it may have been too difficult to deal with on a weekly basis. (If you really want to be a stickler for continuity, you can probably argue that whatever Rugby did to bring Mew back at the end of this special broke that spell forever, but if you’re thinking that hard about it you’re probably thinking too much about this. Yes, I am speaking from experience.)
Like any good Christmas special, of course, the unlikable character finds redemption in the end. And like any good Jim Henson production, that redemption comes with the help of his friends. The relationship between Rugby and Mew is wonderfully constructed. They’re not buddy-buddy like Kermit and Fozzie or Bert and Ernie. Instead, at the beginning, Mew hangs out with Rugby mainly because all of the toys reject him (he’s “just a cat toy”), but Rugby gives him slightly more attention than the others. It’s not even good attention – Rugby mocks and degrades him more than anyone, but Mew latches on to him anyway. When Mew saves him, twice, we see Rugby’s attitude shift, becoming more accepting not only of Mew, but of Meteora as well. And all of it is part of his true education – the growing knowledge that he isn’t the center of the universe after all, but merely an important part of it for one child. Once again, Henson is teaching children a lesson: “It ain’t all about you, kid.”
The music is okay here, but the final number is fantastic. “Together at Christmas,” Rugby’s song to Mew, briefly became something of a Henson anthem, and we in fact will hear it once more a few days from now, when we pay our fourth and final visit to the Henson workshop, and look in on his most famous creations.
Speaking of those creations, like Emmet Otter’s Jug-Band Christmas, this film sadly isn’t available uncut. Both Emmet and the Toys are still owned by the Jim Henson Company, but a few years back they sold the Muppet Show characters to Disney, which means they had to trim the introduction for both of these films, starring Kermit the Frog, to put on DVD. (Sesame Workshop got special permission from Disney to use Kermit in some of the DVDs of their older shows. I don’t know if Henson even asked…) The special is lovely in its own right, but the beginning is terribly abrupt, you feel like you’ve turned it on after it already began, and that’s why. The DVD itself is horribly barebones, not even taking you to a menu before starting the film. If they ever decide to dress this up and do a better home video release, I hope they come to some sort of agreement to give us Kermit’s welcome back again.