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.
Another trip in the Wayback Machine today, friends. Here we’re spinning through the timeline to 2008, when I got together with my Showcase buds to take in not one, not two, but nine movies in the Halloween franchise. Let’s take a look, shall we?
Since Mike’s parents are staying with him after their home was damaged in Hurricane Gustav, Kenny graciously offered to let us use his apartment to kick off this year. On Friday evening, he and I sat with Jason and Andrea, and Daniel and Lauren, patiently awaiting the arrival of Mike, who apparently forgot we were doing this in the vast expanse of time (the day before) since I called and reminded him we were doing this. While we’re waiting, how about a brief history lesson? John Carpenter’s 1978 flick Halloween is sometimes credited as being the first slasher film, with all others (the adventures of Freddy and Jason included) being derivatives of that first maniac in a whitewashed William Shatner mask. It should be interesting watching this, as I know that at least a couple of our intrepid geeks have never seen the first Halloween before, whereas Jason knows it about as well as I know the Richard Donner Superman. The differing opinions will be great, right up until Kenny grabs one of the many bladed weapons he keeps around the apartment and runs Jason through as he attempts to defend Halloween III: Season of the Witch.
For information’s sake, I’ll just point out that I have not seen all of the films in the franchise either. The ones I have seen include the original Halloween, Halloween II, Halloween III, Halloween H20 and the recent Rob Zombie remake. So four of these flicks will be all new to me as well.
Okay, Mike’s here! Let’s get this show on the road…
The first slasher film comes on the DVD player, with the option to play either in widescreen or fullscreen. Kenny loses geek points for even asking which one he should play. As we go through the long opening shot, Jason and Mike begin arguing over whether Rob Zombie topped this film. (Jason argues it is impossible, while Mike claims the lack of “jump in fear” moments in the original makes it inferior. I merely nod and continue typing.) The argument comes to an abrupt halt when lil’ Michael Myers walks in on his sister naked, causing Mike to cheer in joy. The carnage has begun. As the film scrolls out of the Myers house, Mike comments on how cute he is, standing here holding a bloody blade. Daniel chimes in, “it’s like a little Kenny.”
As Dr. Loomis (the immortal Donald Pleasance) makes his appearance, noticing the breakout at the mental institute where lil’ Mike has been for 15 years, the classic John Carpenter theme music appears. And friends, no matter what else we say about this franchise over the course of this marathon, I want to make one thing clear: Carpenter wrote the best slasher movie score of all time. I mean… the Nightmare theme is okay, and Jason has his “ki-ki-ki… ma-ma-ma…” thing going on, but… oh, sorry. I was distracted as Kenny wondered aloud how a 22-year-old man who’s been in a mental institution for 15 years knows how to drive a car.
The action shifts to Jamie Lee Curtis, the young babysitter Laurie Strode, walking home from school past – as Daniel observes – a street full of Volkswagens. She’s the virgin of the group, thus inspiring horror movie tropes that would last decades. A little later, as Jamie Lee’s slutty friend brings her young charge over so that Laurie can watch both the little girl AND the little boy, Jason chimes in, “in five years, those two will have sex and get killed in a Halloween movie!” Mike looks over, incredulous. “Really?” I shrug. “Well, they’ll be eligible.”
As we approach the climax of the film, Mike pshaws the “lame” slash Michael makes at the terrified Laurie. I kinda think it’s intentional, though. Based on the later reveals about their relationship, I don’t think he was actually trying to kill her. As Jason points out, “he could have gorked her easily.” This begins a five-minute dissertation on the etymology of the verb “gork.” Daniel, meanwhile, tries to rat out Jamie Lee’s hiding place in the closet to Michael.
In the end, of course, Dr. Loomis shows up, and blows Michael away… or does he? Honestly, it’s a very good movie, but I don’t think it’s quite the masterpiece that some people (namely Jason) make it out to be. I give it a lot of credit for codifying the slasher subgenre, but there are later films, in my opinion, that did it better. I like this movie quite a bit, but I don’t think it’ll ever make it into the ranks of my all-time favorite horror flicks.
Picking up literally minutes before the end of the first movie, we re-watch the final scenes we’ve already seen, with Laurie facing off against the Shape after letting the little kids flee in terror. Dr. Loomis shows up, again, to save the day, and the second movie begins in earnest. The new stuff becomes obvious when Loomis rushes outside to find a hysterical body imprint in the grass. Laurie, having been wounded in her encounter with Michael, is whisked off to the hospital by Lance Guest, who will always be The Last Starfighter to me. As she gets an injection of a sedative, Jason squeals and covers his mouth, while Daniel leaps up and shouts, “Stick it in there!”
As Michael makes his way to the hospital, Laurie starts to have nasty dreams about being a child, visiting someone… somewhere. Really, at this point it should have been obvious where it was going, but hey, it was 1981. We then move down to the therapy ward of the hospital, where Nurse Naughty Parts is getting ready for a soak with the Last Starfighter’s partner. Mike gets excited, while Andrea just questions what kind of hospital they’re running here. Mike’s enjoyment of the film is curtailed only seconds later by the first appearance, in this franchise, of NMA (“Nasty Man Ass”) just before the paramedic is strangled on the other side of a frosted window while the nurse gets out of the tub, not even attempting to cover up despite the fact that a film crew is right there in the room. At this point, we ask Mike if he’s satisfied. “Eh, not really,” he says. Nothing satisfies that jackass. As Michael goes on to kill the nurse by making her bob for apples in a hot tub that’s gotten waaaaay too hot, I foolishly question why his hand isn’t burning. “He’s been shot 17 times!” Daniel shouts. I concede the point.
Finally, inevitably, Laurie is the last person still standing in the hospital and, after 70 ponderous minutes, the Shape begins to really go after her. Laurie and the Last Starfighter end up in his car, trying to flee, when he passes out and falls on the horn. “How in the hell is he gonna pilot a Gunstar?” I asked.
Fleeing from her comatose protector, Laurie tries to get BACK into the hospital, with Michael hot on her heels. Loomis gets her inside just under the wire, having just realized what everyone else figured out an hour ago: Laurie is his sister. Loomis shoots Michael – a lot – but then Haddonfield’s answer to Barney Fife tells him to stop. “He’s dead!” he shouts. Loomis shouts back, “no he’s not! He’s still breathing!” I nod. “That’s the smartest thing anyone has ever said in a horror movie,” I observe. “And it’s the last time it’ll ever happen,” Daniel adds.
Michael continues his rampage, stabbing Loomis, prompting someone to ask if he’s dead. “No,” I said, “he comes back.” Kenny adds, “he had the scalpel set on ‘stun’.” They flood the surgical room with gas, Laurie escapes, and Loomis lights a Bic, causing an explosion of epic (not really) proportions. Michael staggers out, burning like the Human Torch, before finally collapsing. How the hell Loomis survived that one, I’ll never know. At least, not until we get around to watching Halloween 4.
Before Kenny can even get the disc with the black sheep of the Halloween franchise into the DVD player, Mike and Jason are humming the “Silver Shamrock” song. The third film, famously, is sans Michael Myers entirely. John Carpenter decided to try to escape the trap of using the same antagonist in every installment of his franchise, which in and of itself, is a decision I can get behind. But man, man, man did he fall short in the execution.
In this film, the Silver Shamrock corporation begins marketing the most popular Halloween masks of all time: a pumpkin, a skeleton, and a witch. Accompanying the mask is a television show with the most ubiquitous, obnoxious theme song in human history. “Eight more days ‘till Halloween, Halloween, Halloween! Eight more days ‘till Halloween! Silver Shamrock!” What exactly a Shamrock has to do with Halloween is never adequately explained. The film follows a drunken doctor summoned to treat a man who was almost killed fleeing in terror from Clay Aiken. Clutching a Silver Shamrock pumpkin mask, he pleads, “They’re going to kill us… all of us…” The token black guy in the scene immediately runs for his life, causing Daniel to proclaim him the smartest black guy in one of these movies ever.
A few days later, Drunk Doctor is throwing back a few in a bar when a trailer for the first Halloween movie comes on. Seems there’ll be a special screening, sponsored by Silver Shamrock. The film has officially committed the same cardinal sin as the Simon Welles version of The Time Machine – you never remind the audience that there is an earlier, better version of the movie you are watching. Drunk Doctor hunts down the daughter of the guy who died with the mask, hoping he can solve the murder. Together, they decide to investigate the Silver Shamrock factory, in the totally Irish town of Santa Mira, California, where everyone is a freaky-ass stalker-type. As they stop for directions at a local gas station, I see that unleaded is only $1.32 a gallon. Upon reflection, I decide it may be worth living on top of a portal to hell if gas was that cheap.
As Drunk Doctor and the Daughter continue their investigation, they start doing unspeakable things to each other in the Santa Mira hotel – things his wife at home would certainly never approve of. Meanwhile, in a nearby room, a woman who came to town to get masks for her novelty shop uncovers something terrible – a computer chip in the mask’s trademark that kills her violently via a really bad special effect. Ironically, the mutilated remains of her face are probably the best splatter effect we’ve yet seen in this series, and when insects begin crawling out of her mouth, Lauren gets all squeamish. As we begin to discuss this effect, Drunk Doctor leaps to attention, exposing us again to the horrors of NMA. We all scream and cover our eyes, except for Lauren and Andrea, who just laugh at us.
The dynamic duo take a tour of the Silver Shamrock factory, which Daniel and Lauren are convinced was filmed at some museum they visited in Nashville. They continue to debate it while the CEO, Bob Silver Shamrock (or whatever the hell) gives a “processed” mask to a kid on the tour. Drunk Doctor decides to sneak back in that night, only to get attacked by one of the goons that’s been gouging eyeballs out of people for the entire movie. He manages to beat him up, punching a hole into his gut and making a startling discovery: the bad guys are robots, and they apparently bleed honey mustard sauce. Captured, Bob Silver Shamrock decides to conveniently reveal his whole plan to Drunken Doctor: they bring the a kid who begged like a hobo for a mask earlier, have him put it on while he watches the godawful commercial, and we see a portal to hell open up inside the kid’s head, resulting in bugs and creepy crawlies flowing out all over his fetid corpse. Mom was right about what happens to you when you sit too close to the TV. Y’see, these old Celtic folk hate how we Americans have corrupted the ancient ritual of Samhain with our candy and kids in masks, so he decides to kill all the kids as a human sacrifice to bring back the devil or Gilligan’s Island or something. I wasn’t really paying attention any more at that point. The doc slips out of the trap by transforming from a drunken slob to MacGuyver, busts the girl out, and sabotages the operation by pressing exactly the right buttons on the evil giant UNIVAC computer. The whole town blows up behind them as they flee, but the broadcast is going to go on as planned. Oh, and the girl is a robot now. I dunno. He escapes and manages to run into one of the least satisfying endings in horror movie history.
This film is the “New Coke” of the franchise. It really just made people want Michael Myers even more. There’s a reason you can still buy his modified William Shatner mask at any Halloween store, but damned if you can find one of the Silver Shamrock specials.
At this point, as it was late and we were old, we retired for the night. We reconvened the next day at Mike’s house. At this point, it was me, Mike, Chase, and – improbably – Mike’s mom and grandmother for the next adventure…
Having learned their lesson from the “Season of the Witch” fiasco, producer Moustapha Akkad decided to bring back Michael Myers for the fourth round. Taking place ten years after Michael’s original rampage (which, if you’ll recall, took up both of the first two movies), we pick up the story with Jamie Lloyd (Danielle Harris), the daughter of the late Laurie Strode. Oh yes – they decided to kill off Jamie Lee Curtis in-between movies. (We’ll debate this more when we reach Halloween: H20). It’s been 11 months since the death of her mother, and now Uncle Mike has apparently come back to hunt her down. Evidently, he somehow survived getting burnt to a crisp at the end of part two and now he’s back as a giant super-strong psycho burn victim.
As lil’ Jamie gets upset because her foster sister doesn’t want to take her trick-or-treating, which (as Chase observes) is really rather shallow of her. She pouts and Loomis – now a burn victim himself – pops up to continue his Ahab-like quest for Michael. He finds a bloody ambulance upside-down in the river, which in these movies is the surest sign of a psycho killer. It’s at this point that I really start to appreciate Loomis as a character. Most of these movies always feature a string of protagonists who are totally in denial about the murderers in their midst. It’s nice to have at least one character who doesn’t have his head up his ass. He continues his search, only to find a dead guy dangling from the ceiling by chains. Mike’s mom then pops out with the best quip of the night thus far: “He’s not a very good mechanic.” Loomis finds Michael and begins to beg him to stay away from Haddonfield and leave lil’ Jamie in peace. When Michael doesn’t say anything (horrors!) he opens fire on him, missing him enough times at short enough range to qualify instantly for a job as an Imperial Storm Trooper.
Jamie’s foster sister takes her shopping for a Halloween costume, where she meets her pinstriped boyfriend, who drives me absolutely crazy because I know I saw him in some 80s movie and I can’t remember which one and it’s driving me batty! Jamie, meanwhile, picks up a clown costume that, coincidentally, looks just like the costume Michael wore when he killed Judith waaaaaay back in the first movie. She goes out trick-or-treating and Michael breaks in, coming across her photos of her mom. Jamie’s sister is heartbroken to see her butt-ugly boyfriend hanging out at another girl’s house (a girl who is wearing nothing but a T-shirt that says “Cops do it by the book,” which virtually guarantees she’ll be hamburger patties before the movie ends). A group of rednecks show up and start shooting and random things, and Butt-Ugly Boyfriend starts doing decadently non-PG-13 things with Whore Girl, which sends Mike into fits when he realizes that she actually keeps her boobs nominally covered. Pretty soon, everyone is dead except Jamie, her sister, Butt-Ugly Boyfriend and Loomis, and Michael has them all trapped in the house. BUB gets killed just after I hear his name is “Freddie” and vow to look him up on IMDB when I get home. Rachel, the worst sister in the world attempts to help Jamie escape, and Michael soon has them dangling over the edge of the house. Sis falls and Jamie rushes to her aid, screaming “you can’t be dead!” and thereby proving that she’s never seen one of these movies. As they finally escape by the skin of their teeth, they meet the rednecks, who show an out-of-character amount of good sense when they agree to get the hell out of town and let the National Guard take care of Michael. Michael manages to hitch a ride and pull one of the guys’ faces off, leaving the girls alone to deal with him. Michael is finally killed by getting run over by a car, sprayed with a hail of gunfire, and trapped in a mine explosion. The girls go home… just in time for what is admittedly one of the best horror movie endings ever. As Foster Mom draws up a bath for lil’ Jamie, she dons her clown mask and, in a tracking shot reminiscent of the first film, approaches mom… only to reappear seconds later, covered in blood. The evil, it seems, survived.
Two years later, it was time for round five, and I begin to weep as I realize that this film actually only marks the halfway point of our marathon. After a particularly brutal “pumpkin carving” scene, we open with a recap of Michael’s overkill death via car, gunfire, and explosive. However, this time, we see him narrowly escape the blast and get away, according to Chase, by riding a Schlitterbahn waterslide to safety. He gets away and almost kills a transient, then passes out. Flash forward to one year later, in a child’s mental clinic, where Lil’ Jamie is strapped into a machine that’s monitoring her nightmares. She flashes back to brutally murdering her foster mother and wakes up screaming, then gets cuddled by a nurse who asks to… call her mom? Huh?
We see Michael wake up in the transient’s shack, where he wakes up without his mask. Chase then tells us to rewind the DVD so we can see how cute he is, and we are all far more frightened than we have been for the entire marathon to date. Jamie mimics Michael putting on his mask, helping strengthen Mike’s theory that they’re sharing some sort of mental link, then starts going through convulsions as he kills the friendly neighborhood transient. Eh. It happens. Jamie is better later, except for the fact that she’s apparently lost the ability to talk, and it soon becomes clear that Rachel has taken on a mother role for her. Chase sums up my thoughts about this perfectly: “SHE KILLED YOUR MOM, LADY!” It does seem a little bizarre… until Rachel again says, “Mom and Dad send their love.” As we debate whether the murder was a dream sequence or if mom just survived the attack or what, someone throws a rock through the window with a note that says, “The evil child must die!” I immediately think of a few former students of mine.
Over the course of the next several minutes, Rachel is interrupted from a shower by Jamie having a premonition of Michael killing the dog. We then meet the worst pair of cops in Haddonfield, evidenced by the goofy music that accompanies them. Seriously, it’s like listening to a Vaudeville routine. Loomis begins shouting at Jamie to tell him what she knows and she starts to weep. I shake my head. “not a child psychologist, are you Sam?” I ask. Chase pops up with, “I thought he was…” Oh. Yeah.
After Michael kills Rachel (Mike weeps because he never saw her boobies), her friend is picked up by a guy who I can only describe as looking like Fonzie, “if he was a douchebag.” Loomis terrifies Jamie some more, and then we see some dude with metal-tipped boots get off a bus and kick a dog. Mike’s mom chimes in with, “You no-good man! I’d kill you right now!” My only response is, “that’s going into the blog.” The next genuinely terrifying moment? When we see a convenience store that keeps its spinner rack of comic books outside. Those books weren’t made to handle the elements. Fonziedouche backs up behind the behind the store where Michael appears, doing something worse than killing him. He scratches his car. Then he stabs him in the face with a pitchfork, and we’re all happy.
Jamie breaks her streak of not talking just in time to save her friend Tina from Michael. As we begin a long, ponderous section featuring kittens and a jackass friend dressed as Michael pretending to kill people, we realize that Halloween 5 is, in fact, too dull to even effectively riff on. We’re all pretty relieved when the real Michael drives a pitchfork through the guy as he’s on his girlfriend. Then he comes back with a scythe to take her out. The worst cops in the world hear the bloody deaths, then they actually summon Michael to their car to chew him out. We’re pretty happy when he kills them too.
Michael comes after Tina with a car, but somehow, Jamie screams at him and makes him come after her instead. Mike and Chase are amazed at how his car can turn on a dime, while I am amazed that it’s apparently too slow to catch up with a 12-year-old girl in a fairy costume running over uneven terrain. They get away, Tina dying in the process, and Loomis issues his challenge to Michael: face him “back where it all began”! They’re going to the Myers house, and Loomis clearly has no qualms about using a 12-year-old girl as bait. Loomis is a jerk.
At this point, Kenny joins the fun, and we are temporarily distracted by the fact that he is now clean-shaven for his new job. It’s like Samson losing his hair. We barely notice the rest of the film, but that’s not really that big a loss. Jamie runs to the attic, where she finds the corpses of everyone she loves, and he hides in a coffin, which is the worst hiding place ever. Michael approaches her, but before he can turn her into kibble, she calls him “uncle” and asks him to stop and take off his mask. Which he does, prompting her to say, “You’re just like me.” I don’t quite get the connection. She’s not a nine-foot-tall psycho killer from hell. Loomis arrives (again), chains Michael up, and beats him with a two-by-four. Of course, he’s still not dead. He’s going to a “maximum security facility,” to stay there until he dies. People in this franchise are idiots. Finally, metal-toe-boot-man arrives (we’ve been watching him periodically pop up throughout the film), and begins trying to shoot Michael through the bars. Jamie wanders back into the jail, where the cell is burning… and it ends. “Thank god,” I say, before the significance of this event dawns on me. Yeah, the cell was on fire, but dammit, Michael was gone.
The film begins with Jamie, now a teenager and played by somebody else, being wheeled through a hospital and into a large satanic-looking chamber to, evidently, deliver a baby. The child is marked by the silver-toed dude from the last movie, but Jamie manages to grab the baby and flee… right to an abandoned farmhouse, where she abandons the screaming infant and is soon killed by Uncle Michael. This, as I believe I’ve mentioned before, is the cardinal sin of a horror movie: bringing back the previous film’s survivor girl just to kill her off in the opening act. I hate that. Anyway, before she dies, she whispers to him that he can’t have the baby. Then she dies a lot.
Back in Haddonfield, we find a man who was actually stupid enough to buy the Strode house, and as a result is being plagued by kids putting standees of Michael in the yard. Living here is a lovely non-nuclear family: Abusive Grandpa and Grandma, their teenage son Tim, their slightly older daughter Kara, and her son Danny. It gets worse when it dawns on me that this is another branch of the Strode family, Laurie’s foster-relatives. After a fight at the breakfast table, Grandpa slaps Kara, only to have Danny grab a steak knife and point it at him. This is why you never buy a house that previously belonged to a serial killer’s foster sister. Living across the street, however, is the grown-up Tommy from the first movie, now played by Paul Rudd. He’s been watching Kara undress through the window, while meanwhile obsessing over the minutia of the Michael Myers legend… he’s clipping newspaper articles, listening to radio call-in shows full of Myers conspiracy theorists, and genuinely creeping the hell out of everyone. Somehow, he finds the missing baby in the restroom of a bus station, which is by no means the most sanitary possible place. Kara and Tim find a drawing by Danny featuring his entire family being stabbed to pieces, which Tim thinks is “cool.” Tim is freakin’ strange. Tommy hunts down Dr. Loomis to ask for help, which makes me realize that Loomis apparently hadn’t begun his child-terrorizing tactics in the first movie.
Tommy reveals that an ancient cult used to choose one child per town to be possessed by a demon and be driven to slay his family, thereby saving the rest of the town… which is evidently what happened to Michael. Which means it didn’t work, because how many non-Myers has he killed? Case in point: in the next scene Abusive Grandpa finds Grandma’s head in the washing machine, then gets stabbed and electrocuted. Really, I’m calling this spell an absolute failure.
Later, at a sort of outdoor Halloween festival (this town never learns) Tommy walks around being creepy, and finds a little Halloween fairy princess dancing in a “red rain.” It’s Tim’s buddy the shock jock, dangling from a tree and bleeding on things. Tommy calls Dr. Loomis and informs him that “it’s happening.” Well duh. Tim and his girlfriend get iced, and Danny (showing the sort of foresight that people always display in these movies) runs to the Myers house. Kara goes after them and manages to knock Michael down the stairs. She immediately becomes my favorite character in the franchise since Laurie.
Chase and I miss out on her battle with Michael as we debate who died first in each of the Scream movies for no apparent reason. Kara and Danny run across the street to meet up with Loomis and Tommy, and EEEEEEVIL VOICES call to Danny. It’s silver toed shoe man, played by the straight-laced dad from Dharma and Greg, who is Loomis’s boss. Evidently, everyone in this movie has been part of a conspiracy to get their hands on the baby. Kara leaps from a window, but gets captured, and Michael chases the whole gang to the asylum or something. Tommy busts Kara out just in time to get away from Michael, who takes a very large-caliber bullet right in the chest. Yeah, like this will work. Barely wounded, Michael goes to town in the operating room, though, resulting in a nifty little bloodbath and Mike screaming, “WHY IS THERE A STROBE LIGHT IN A HOSPITAL?”
Tommy tries to fake Michael out by giving him a fake baby, but the real one cries and screws the deal. Then Kara starts to beat the crap out of him with an iron pipe, further cementing her as my favorite. he still takes her down, but Danny shouts at Michael, drawing him away just in time to save her life. Loomis shows up AGAIN, does nothing AGAIN, and the others all leave him behind because he’s got “something to do.” We don’t know what, though, because that’s where the movie ends, along with a memorial to the late Donald Pleasance. Much as I goofed on Loomis, he really did add an air of class to these movies, and the next two feel his absence in a particularly painful fashion.
This was actually the first Halloween movie I ever saw. Jason and I caught it when it first came out, and I hated it. I haven’t seen it since, and I’m hoping that my new familiarity with the franchise will make me enjoy it more. This film, you see, ignores every movie since the second one. It begins in Langdon, Illinois, at the home of the late Dr. Loomis. The house is open and his nurse is freaking out, so she asks the kid from 3rd Rock From the Sun to investigate. We all bemoan the fact that he’s going to play Cobra Commander in the upcoming G.I. Joe movie, and just hope he dies. [2013 Note: Despite G.I. Joe, Joseph Gordon-Levitt has since proven himself to be a fine actor, and these earlier indiscretions have been forgiven.] Instead, he freaks out and beats up a pot rack, then takes a beer from the refrigerator. The fridge light is on, even though nothing else works. Apparently, the fridge is on a completely different circuit than everything else in the house. I’m not feeling particularly optimistic that this movie will be better than I remember. I do perk up a little when the teenage brat gets a pair of hockey skates shoved in his face a few minutes later.
On the plus side, Jamie Lee Curtis makes her triumphant return in this film. Evidently, Laurie Strode faked her death years ago and is now living under an assumed name with her fiancé, Alan Arkin, and her son, Josh Hartnett, and is the headmistress of a prestigious boarding school in Summer Glen, California. Of course, she’s still haunted by the memory of her big brother. As she meets her secretary, I am reminded that Janet Leigh is in this film, which is amusing on a few levels. First, she’s Jamie Lee’s real mother, and second, she was awesome in Psycho. She’s picking up some of the class slack left by Donald Pleasance’s absence.
There is a moment of vindication when we see Michelle Williams’ character washing dishes. You see, for years, Chase has referred to this movie as Halloween: Water, But There’s No Water in the Movie, as if it was the full title. When I point out the water in the sink, he apologizes. A few seconds later, as she walks down a hallway full of puddles, he announces, “There’s water all over this freakin’ movie!” I also make everyone quiet when we get to the best moment in the movie: when Janet Leigh tells Jamie Lee that she’s not trying to be “maternal,” and that “we’ve all been through things in the past.” When Jason and I saw this movie in the theater, we were the only two people who laughed at this line.
Chase had to step out at this point, as he was catching a plane in the morning, and by now Mom and Granny were in bed, so we were down to Mike, Kenny and myself.
Pretty soon, Jamie Lee is getting stalked again, but she keeps imagining she sees Michael all over, so when the real deal begins showing up, she thinks she’s just hallucinating again. The four main kids skip out on a trip to Yosemite to stay at the school and do dirty deeds, which terrifies Laurie when she realizes it. Mike comments that this episode feels too much like the Scream and I Know What You Did Last Summer franchises, and I point out that it was made in that era of the Slasher. The killing finally starts when Michael takes a corkscrew to one of the kids and a carving knife to another. Then, if that wasn’t bad enough, she gets her leg caught in a falling dumbwaiter before finishing her off. I must admit, it’s one of the more creative murders in these films as of yet. The remaining kids, including Laurie’s son, flee, and brother and sister come face-to-face once again.
We then get a first in this franchise – Laurie’s fiancé accidentally shoots LL Cool J, thinking he’s Michael, before getting gutted himself. Laurie sends her son and his girlfriend away and she decides to face him, alone, once and for all. Kenny suggests she put on a William Shatner mask and go after him. I counter – “No, no… Leonard Nimoy.” Laurie manages to stab the hell out of Michael, and she’s about to finish him off before LL Cool J pops in and stops her because, “He’s dead!” LL is a moron. Laurie, knowing it isn’t over, wait until the cops load Michael into a coroner’s van, then steals it and drives off into the middle of nowhere for the final battle. This includes throwing him through the windshield of a moving van, running him over, plunging both him and the van off a cliff, pinning him between the van and a tree, and chopping his head off. Credit where credit is due. Laurie doesn’t do things in half-measures. “I’ll say this,” I conclude. “A bad movie, yes, but with a good ending.”
Mike says “Oh my god, this is gonna suck ass” from the beginning of the opening credits, which features Busta Rimes and Tyra Banks. I cannot disagree. The movie begins with Laurie, now in an insane asylum. She’s there for decapitating “a man.” Y’see, it seems in all the confusion after Michael was beaten in the last movie, he put his mask on some other dude and stuck him in the coroner’s van, so Laurie actually killed an innocent man while Michael roamed free. Frankly, all things considered, I think she’s remarkably well adjusted. Michael has been on the loose for three years now, and he’s somehow tracked Laurie down. After killing a couple of security guards (because that’s how he rolls), he bursts through the door to Laurie’s room and chases her to the roof, where Mike notices that the mask in this movie doesn’t look anything like the previous ones. Where the hell does Michael get these things? Anyway, Laurie manages to catch his foot in a trap and dangle him over the roof, but she reaches for his mask to be sure it’s him. He grabs her, stabbing her in the gut before he throws her off the building. This just plain pisses me off. Laurie is the ultimate Survivor Girl. Dying 15 minutes into the movie? First of all, it ain’t kosher. Second of all, with her dead, Michael has no more reason to exist. But somehow, we’ve still got at least an hour of movie to go through.
Flash to Haddonfield University (apparently there is one) and we meet three college students who have been picked to be on an internet reality TV show called Dangertainment. God help me. They, and three others, are being sent to Michael Myers’ childhood home to “look for answers,” whatever the hell that means. A quick interview sequence makes me conclusively determine that five of them are pretentious idiots, leaving only our apparent new Survivor Girl, Sarah, who freaks out when a light is knocked over and whose scream apparently turns on Busta Rimes, who begins talking to himself in the third person. We all want him to die.
The killing starts even before the show does, though, as one of the technical producers is murdered with what must be the sharpest tripod ever made while Tyra Banks dances around and makes herself a cappuccino. The kids begin investigating the house, where they discover everything has been falling apart for years… except that a cursory investigation of the kitchen shows fresh fennel. Apparently, when Michael came home he took the time to refill the spice rack. Meanwhile, Sarah’s dorky high school-aged internet buddy is dragged off to a party against his will, when all he really wants is to log on to a computer and watch her. He finds a kick-ass computer setup in the house where they’re staying and logs on. From there, he figures out Michael is in the house long before anyone actually in the house wises up, except for the ones he kills. We briefly have a moment of hope where we think that Busta is going to get killed as, dressed like Michael, he chews him out under the assumption that he’s the missing producer. But then Michael lets him live, disappointing us all, and goes on to kill the cute redhead, further disappointing us all.
The remaining kids figure out Busta’s plot and are about to leave, just before the real Michael shows up and starts cutting them up. Soon, only Sarah is left, and her only hope of survival is a primitive text message system with her geek buddy, giving her clues to keep her alive. In the end, this is a movie with stupid, shallow characters and a stupid flash-in-the-pan story. With the possible exception of three, I think this may well be the worst in the franchise. The house actually burns to the ground in this one, with Michael in it, which I guess makes it technically the end. After all, the next one is a remake…
Last year, Rob Zombie remade the beginnings of the franchise. Mike, Kenny and I saw the remake when it first came out, and we all liked it, so it’s nice to know we’re ending with a good movie. Zombie went back to Michael as a child, starting with him being bullied by his dad, torturing animals, and ultimately killing one of the bullies that tormented him. At this point, we’re all pretty exhausted, and the riffing has dwindled to a minimum. Still, we’re into the flick. It’s actually the Richard Donner Superman formula. The first half of the movie is all origin; he doesn’t put on the familiar costume or go to the familiar setting until the second half of the film, and from there, all hell breaks loose. Just like that other masterpiece of cinema to use the same formula: Santa Claus: The Movie.
Young Michael’s first kill, like I said, is the school bully. That night, after his older sister refuses to take him trick-or-treating so she can stay home and do things to her boyfriend, he duct-tapes his stepfather to an armchair and butchers him before taking care of the happy couple. At this point, Mike scares us all by announcing that, at this point in the movie, he’s rooting for Michael. Sure, Stepdad is a drunken jerk, but man… Anyway, after the killings, we flash through his treatment by Dr. Loomis (now played well by Malcolm McDowell), into an obsession with making masks, through his murder of a nurse, and through his mother’s suicide, unable to deal with the fact that she seems to have given birth to the Antichrist. I don’t know if I can root for this Michael, but Zombie has succeeded in making me pity him.
Anyhoo, 15 years later it’s the same ol’ thing. Mike breaks out and stalks his way back to Haddonfield, and the new Laurie Strode. Maximum cool points go for the casting of Danielle Harris, lil’ Jamie from 4 and 5, as Laurie’s friend Annie. And may I say, she did a damn good job of growing up. Hotcha. On the other hand, out of the three main girls, only Scout Taylor-Compton (as Laurie) could possibly pass for a teenager.
Once the killing starts in earnest, Zombie starts recreating scenes, lines, deaths, even shots, from the first two movies, which is a lot more fun to pick out having watched the original just last night (although it seems like about ten years ago.) We begin picking out comparisons between the two: Annie lives in this one, but died in the original; the cops are competent in this one, but morons in most of the other films… the big question is as to what time period, exactly, the different segments of the film are supposed to be set in. The second half feels very contemporary, very 2007. The first segment felt very 1970s. But only 15 years had passed. That first section in no way felt like 1992. It’s kind of hard to reconcile the two halves of the film, we say. The debate continues until Danielle Harris takes her top off, at which point all conversation ceases.
Eventually, as must always be the case, it’s down to Michael, Laurie, and Loomis, who turns out to be a much better shot in the remake than in the old movies. Bullets still don’t really work for beans, but at least he’s a better shot. The final fight, the last 20 or so minutes of the movie, are totally brutal and unflinching. It’s harsh, it’s dirty, and it’s disturbing. Which, frankly, is what makes it work.
The final tally: Mike, Kenny and I all seem to agree that the Rob Zombie Halloween is the best of the bunch, although I contend that it wouldn’t be as good if you hadn’t seen the original. Season of the Witch is hands-down the worst, but if we’re only going to count Mike Myers movies, the consensus is that Resurrection sucks hardest. And thus ends the third annual Halloween Marathon, guys. Hope you enjoyed the recap as much as we enjoyed doing it!
Two years ago, Rob Zombie reinvented one of the slasher classics with Halloween. This year, Halloween II picks up and extends his new vision of terror — but do the Showcase boys share his vision? Check our our mini-review!
The year after my epic one-on-one battle with Jason Voorhees, I rounded up some of my friends to join me in combat with Wes Craven’s most famous creation, Freddy Krueger. The Showcase Halloween Marathon has been a tradition ever since, although in 2007 our podcast was still focused almost entirely on comic books, so I blogged this rather than record an episode of the show about it. Here, in all its classic glory, is the tale of the year Mike Bellamy, Kenny Fanguy and (eventually) Jason Champagne joined me for a seven-film Nightmare on Elm Street marathon…
OCT. 30, 2007…
Like with Jason last year, I had never seen all of Freddy’s films before. In fact, I’d only seen the first one, parts of New Nightmare, and (of course) Freddy Vs. Jason, which we had originally intended to include in the marathon, but decided against on the grounds that A) I’d already reviewed it last year and B) it was 1:30 in the morning when we finished New Nightmare – those of us who made it to the end, that is. Not all of our intrepid panelists made it there. Who survived? Read on. And be warned: spoilers abound.
The film that started it had us laughing even before the credits finished when we saw the immortal phrase, “And introducing Johnny Depp.” Sporting a haircut and a sweater vest that made Zack Morris look like Rob Zombie, it’s easy to forget that Depp got his big break making out with the girl from Just the Ten of Us (Heather Langencamp as Nancy) and getting slaughtered by a guy wearing a red-and-green Christmas sweater. The plot really kicks off as Nancy and her friend Tina (Amanda Wyss) begin comparing notes on their horrible, horrible dreams of the night before – dreams of a terrifying man with knives for fingers. When we get to the line, “Nancy, you dreamed about the same creep I did,” it’s all I can do to keep from laughing. This scene has been parodied and repeated so many times it’s impossible to even take the original seriously any more.
Tina’s boyfriend Rod, as horror movie teenagers are wont to do, shows up to do things with Tina that her mother certainly wouldn’t approve of. It is at this point that we first really begin to appreciate the greatness of Mike’s surround sound set-up. While Tina and “Rod” are doing it in surround sound, Johnny Depp groans and utters the line of his career: “Morality sucks.”
We finally reach a genuinely scary moment about ten minutes in when Nancy, sound asleep in her bed, is awakened by a stretching sound that turns out to be a hideous, knife-fingered fiend trying to burst though a thin membrane of the wall. It’s at this point that we remind each other that the first movie in this series is actually pretty good, and will not be as easy to make fun of as later installments. I am proven wrong, however, as Freddy goes for his first kill. While he slaughters Tina in her sleep, her idiot boyfriend stands there in his tightie whities, impotently watching as she’s hacked to bits. “That’s got to suck,” I observe. What really sucks about the town of Springwood becomes apparent soon afterwards as they show Tina’s butchered body carted off on the morning news. And people ask what’s wrong with the media in this country.
Nancy has to face Freddy in her dreams again, as he drags Tina’s corpse into his Boiler Room set. We all cringe as Freddy begins scraping his knives on the pipes in his dream-Boiler Room, and Mike compensates by making “bllbgbgbgbgbg” sounds. (That was typed phonetically.) Nancy later sits up with her butt-ugly mother, whose solution to everything wrong with the universe is to, as Kenny suggests, “drink until she’s pretty.” Mom finally makes the fateful revelation we’ve been waiting for since the film began: Freddy Krueger was a child murderer who got free on a technicality, so a group of parents got together, doused him in gasoline, and burned him to death. Now, his malevolent spirit is murdering the children of the people who killed him. Johnny Depp buys it while he’s supposed to be staying awake (this would become a theme for the movies – virtually every character ever specifically warned not to go to sleep winds up going to sleep and getting slaughtered), and Nancy goes into her dreams for a final confrontation with Freddy.
The thing about the original Nightmare is, despite some terrible acting and scenes that are now clichés because they’ve been done so many times, it’s actually a pretty decent movie. Freddy, at this early stage, is a dream-demon who can take whatever it is you fear and turn it against you. That’s a pretty potent weapon. The ending of the first film is surprisingly bleak, as Nancy SEEMS to escape, but we’re left with the impression that she’ still trapped in her dream. She and the dead kids get carted off in a convertible with a Freddy-pattern top. It’s okay, but not a great film by any means. Now to see just how bad it could get.
A Nightmare on Elm Street 2: Freddy’s Revenge (1985). For the second go-round Kenny, who had been planning to leave after the first film, decided to stick around using the logic, “This is more fun than I thought.” Well duh – watching bad horror movies with your friends? If there’s a better way to spend a weekend in October, I don’t know what it is.
The second film begins with a far more effective dream sequence than the first, as a dork on a school bus (Mark Patton as “Jesse”) dreams about the bus running off the road and winding up atop a tall stone pike where Freddy attacks the dork and two remaining teenage girls on board. Jesse wakes up covered in a cold sweat that makes him look like a parody of the guys in the film 300 and we start to realize the premise: Jesse’s family has moved into The House that Nancy lived in during the first film. Jesse picks up a neighbor girl named Lisa who looks like a younger, more attractive Meryl Streep (I don’t mean that as a compliment), and goes to school where he gets pantsed during gym class – which, as Mike notes, is the most nudity we’ve yet gotten in this series. The two guys begin beating each other up, then the coach has them do push-ups together, at which point they begin conversing as though they’re best friends. “How long will we be doing this?” “For a while. So, you new in town?” When the dork reveals to the bully, Grady, that he just moved to town, where his parents bought a house on Elm Street, Mike informs us that he’d totally forgotten we were watching a Nightmare film. This is actually fairly acceptable, as the previous 10 minutes more closely resembled an ABC Afterschool Special from the 80s. This does not, however, prevent us from mocking Mike.
Jesse continues exploring his new home. Although the door and staircase is pretty much the same, the rest of the house has undergone a redecorating scheme for which Jesse’s parents deserve to die. When Jesse’s dad refuses to let him out of the house until he cleans his room, he puts on 80s sunglasses and dances lasciviously to music just in time for Lisa (evidently the “rich girl” in the neighborhood) to pop in. As she helps him clean up, she uncovers the Lost Diary of Nancy Thompson, which has been there for five years. (Hey! We’ve established a timeline!) They begin reading the diary (Jesse at one point is looking at a page that was clearly blank when he turned it) and read about Nancy’s teeeeeeeeerrible dreams.
In his own dreams, Jesse keeps getting approached by Freddy, who wants his “help” for some reason. It gets worse when one of their pet birds kills the other, attacks his father and then blows up, for which his father (showing the sort of logic that has made horror movie parents stand out since the dawn of time) blames Jesse. He rushes off to Don’s Place, a dominatrix-style bar where evidently no one feels the need to check the identification of an obvious minor for either admittance or the purchase of alcohol. He meets the coach there, who takes him back to the school, makes him run laps and take a shower. If you can make heads or tails out of anything written in this paragraph, you’re a better man than I, because although that’s pretty much a blow-by-blow account of the next few scenes, it’s completely incomprehensible. It is at this point that Mike and I start shouting out how ridiculous what we’re watching is and question whether or not this movie was written during a fever dream. When the coach begins getting attacked by balls (Kenny: “Every straight man’s worst nightmare”), I begin to sincerely hope that the second film will prove to be the worst in the series.
Coach gets killed, but then we see startled Jesse, still in the showers, wearing Freddy’s glove, at which point he screams in such a way as to make Nathan Lane seem masculine. Lisa invites Jesse to a party (really? With people getting murdered left and right?), where she confronts him about his crazy behavior. Her friends, meanwhile, are waiting for her parents to turn off the lights, at which point they begin screaming like maniacs and turn the music fifty times as loud. You see, teenagers in Springwood suffer from the misapprehension that the minute the lights go out, parents are comatose. Meanwhile, Jessie and Lisa start making out, which gets Mike very excited (draw your own conclusions) until Jesse’s huge purple tongue comes out. He rushes away, prompting Mike to speculate, “he just realized he’s gay.” I chime in too – “He’s going to Grady’s house.” This is almost an amusing comment… then, a second later, he suddenly appears in Grady’s house, LEAPING ONTO THE SHIRTLESS GRADY’S BED. We didn’t hear anything else in the movie for a good 45 seconds because we were laughing too hard.
The terrified Zack asks Slater – sorry, Jesse asks Grady to watch him sleep, which Grady is disturbingly willing to do, right up until he does the one thing he was warned NOT to do – go to sleep. This begins a surprisingly effective sequence of Freddy bursting out of Jesse’s body. For the first time in a half-hour we see something intense enough to remind us this is supposed to be a horror movie. Grady gets butchered and Jesse, covered in blood, runs to Lisa and begins confessing to all the murders. Rather than screaming and calling the police, she puts the blood-covered boy on her parents’ clean couch and starts reading a passage in Nancy’s diary that is intended to explain everything, but in fact, is utterly nonsensical. Which is when Jesse turns into Freddy and decides to attack the par-tay. The pool boils, whale songs begin playing for no apparent reason, and Freddy-in-Jesse attacks Lisa, who pleads with him until he runs off, bursts through the patio door and begins carving up the kids there. Lisa’s dad comes out with a shotgun, but she stops him from shooting Freddy. She and the psycho killer share a long, lingering moment, and he vamooses, so of course, she goes after him. She goes to the power plant where Freddy once worked, now guarded by dogs with ugly human faces, and enters the Eternal Boiler Room of the Damned. Freddy goes after her, prompting her to proclaim, “I love you Jesse!” This is evidently the magic word – Freddy starts bleeding (or is it Jesse in Freddy?) She kisses him in a really stupid attempt to get Jesse out, and this somehow sets the whole place on fire. Freddy begins to melt – really – and Jesse climbs out of the charred husk. She hugs him and the scene fades to a school bus. Mike, Kenny and I all scream, fearing we’ve returned to the beginning of the movie, but instead, he’s just hopping a ride to school with ol’ Lisa and her friends, who are highly enthusiastic about the party in which several of them got killed. There’s the requisite fake scare in which you think Freddy is driving the bus, then the requisite REAL scare where he attacks again, and that – blissfully – ends the film. Watching this, I’m trying to figure out why the hell they made a third Nightmare. But they did make another one… and thus, we will watch it.
A Nightmare on Elm Street 3: Dream Warriors (1987). Mike, putting the DVD in the machine, begins singing 80s hair metal and announces that “Dokken made the soundtrack!” Kenny and I look at him like he’s lost his mind. Our friend Mike, you must understand, has a greater love of hair metal than any other bald man in North America.
This film begins with a quote from Edgar Allen Poe in a misguided attempt to make us think it’s highbrow, then we switch to Patricia Arquette – Kristin — eating dried coffee and drinking Diet Coke. (This is what everyone did in the 80s). She’s apparently making a replica of the house from the first two movies out of popsicle sticks. She has a dream in which she enters the popsicle stick house, gets chased by Freddy, and winds up in a room full of hanging corpses. Suddenly, the three of us take notice – this is already better than the entirety of the second movie. Although as Wes Craven returned to work on the screenplay here, that may be the reason.
We then cut to a psychiatric hospital where Morpheus the Orderly (yep – “Larry” Fishburne) is tooling around attributing the stupid kids of the 80s to the drugs their parents took in the 60s. Kristin has been brought there because Freddy made her cut her wrists and they think she’s a suicide attempt. She’s just fine until they try to sedate her. As she holds off the docs with a scalpel, she begins chanting the Freddy rhyme… One, two, Freddy’s coming for you… She looks like a loon…
Then, like Superman rising from the grave, Nancy appears. Yes, Heather Langencamp, the Survivor Girl of the first film, is back. She’s a little older, with a streak of grey in her hair leftover from the first movie and a librarian suit, but tough enough to pop in and hug Kristin into submission. Dr. Neil Gordon (Craig Wasson) praises her work as being good “for an intern,” and she smiles a smile that includes about 70 teeth and informs him that she has experience with pattern nightmares. This is intended to be funny.
Kristin has another dream in which Freddy (for the first time showing some decent shape-shifting powers) tries to EAT her, but she somehow manages to summon Nancy into the dream to help her fight. They escape by the skin of their teeth and Nancy, knowing just what’s going on, confronts Kristin about the house in her dreams. Turns out, Kristin has the power to pull other people into her dreams – a power that will clearly come in handy as the film progresses. She takes Kristin to a support group of kids who have all been suffering from dreams about a psycho with knives for fingers, where Dr. Nurse Ratchet dismisses their dreams as being the result of guilt and repressed sexuality. She’s apparently seen one too many horror movies.
(At this point, our buddy Jason Champagne popped in to join in the riffing. Whether his comments are as witty and pithy as ours remains to be seen, but it’s generally agreed they can’t be worse.)
Nancy begs Neil to prescribe a new drug called Hypnocil to suppress the dreams of the other kids. He refuses, which really sucks for the kid who keeps marionettes in his room, and we see as one of them morphs into a stop-motion animation Freddy. I run it by my fellow geeks, and we universally agree that the stop motion is, in fact, scarier than any of the CGI of later movies, and that people should use it more often. Freddy turns the kid into a marionette using his own tendons — which again, marks this as a considerably scarier film than part two – and forces him to climb to the top of a tower. Two of the other patients see him and – naturally – the one who CAN’T TALK is sent for help. This ultimately results in a bunch of psycho kids screaming out the window while Puppet Boy plummets to his death. “Now this is gonna be a setback for their therapy,” I say.
In therapy the next day (told you!), the doctors try to dismiss the death as a sleepwalking accident, sending one of the kids into a fit where he gets dragged off to the “quiet room.” Neil prescribes a dose of Hypnocil against Nurse Ratchet’s objections. It’s too little too late, though, and when a second patient is killed (again ruled a suicide — because EVERY emo teen kills herself by smashing her head through the picture tube of a TV mounted seven feet up the wall), Nancy tells the group about her own encounter with Freddy. She reveals that this group is the last group of kids whose parents were involved in Freddy’s murder. Neil hypnotizes the group into Kristin’s shared dream, the kids learn they have super powers in Dreamworld. The one in a wheelchair can stand up and do magic, another is super-strong, one can do gymnastics… and Joey (Mute Boy) is going to boink the hot nurse on the ward. As he and the nurse are off playing patty-cake, though, she winds up tying him up with her tongue (this series has a thing for tongues) and turns into Freddy, who makes the obligatory joke about the kid being tongue-tied before torturing him into a coma. Nurse Ratchet finds poor Joey unconscious and the others all asleep. While things look bad for the kids, Mike is ecstatic because he got to see the Nurse’s boobs. The promise of the Slasher Film has been fulfilled.
Neil encounters a freaky nun in the closed wing, where she reveals that in the 40s a woman named Amanda Krueger was locked in the hospital and raped hundreds of times by the criminally insane lunatics, producing Freddy: “The bastard son of a hundred maniacs.” She tells him the only way to stop Freddy is to get his remains and bury them in Hallowed Ground, or at least douse him with Holy Water. Why does she know this? Because in horror movies, someone always knows stuff like that. Also, because she’s Amanda, and dead herself, although we don’t find that out until the end, so forget I said anything. Anyway, Nancy and Neil scrounge up Nancy’s father, who has spent the six years since the first movie drinking the alcohol her mother didn’t get around to drinking before Freddy got her. Neil and Daddy get some Holy Water and a Crucifix, suffering from the misapprehension that Freddy is a vampire, and Nancy – upon discovering Kristin has been locked up — rounds up the three remaining kids for their “last group session.” She and the kids hypnotize themselves into the dreams just in time to join Kristin in battle with Freddy, which gives Mike a chance to scream along with more 80s rock. Freddy divides up the kids to fight them one at a time: killing the ex-junkie with needles (kind of an intense scene) and the Dungeons and Dragons geek in a way that makes you wonder why he never whipped up a Plus-Five Sword of Ass Kicking or something.
While Neil and Daddy look for Freddy’s corpse, which apparently the parents dumped in a junkyard in the trunk of, as Jason observed, “Christine,” the last three Dream Warriors rescue the comatose boy and take the fight to Freddy, who shows off the faces of his victims screaming on his flesh – a nice, gross little image. Back in the junkyard, cars start coming alive and Neil and Dad have to fight Freddy’s skeleton – again, stop motion; again, actually pretty cool. Mike asks a rather pertinent question now – we thought Freddy could only attack you through your dreams (or through Jesse). I theorize that, since this is the location of his physical body, he has more power here. I’m probably talking out of my ass. The others in Dreamworld wind up fighting Freddy in a funhouse full of mirrors, where Mute Boy blows him away with a sonic scream and Daddy, who died in the junkyard, pops in to tell Nancy he loves her. It’s so sweet that Mike and Jason begin arguing that they’re watching the end of Legend of Zelda – until, naturally, Daddy turns into Freddy and kills Nancy. She pops up again, though, just in time to stab him with his own blades. Neil, in the real world, dumps the Holy Water onto Fred’s corpse, and he blows up. He blows up good. Nancy dies, Kristin cries and the audience thinks that maybe, just maybe, this series is over. This was the 80s, people didn’t realize the neverending nature of these films yet.
Four tries to start with a step up from three, beginning with a Bible quote to top Edgar Allen Poe. Kristin is back for another round (although Patricia Arquette didn’t return – Kristin is played by Tuesday Knight… really…), trapped in The House in a rainstorm. She gets blown into the basement, where she faces Freddy’s infamous boiler room. Desperate, she calls out to Token Black Guy and Mute Guy from the last movie, who ARE played by the same actors. They remain skeptical, and TBG’s dog gives Kristin a playful bite of flesh taken out of her arm before she wakes up and goes off to meet with her boyfriend Rick and his sister, Alice (Lisa Wilcox). Their father chastises Alice, shouting, “Are you dressing like THAT?” The girl in question, however, has a dowdy plaid jumper and yellow sweater on. Most parents would want their daughters to dress in such an unattractive manner. It would virtually guarantee they remain a virgin and – by proxy – alive by the end of the movie.
Kristin, Rick and Alice meet up with a friend with hair about seven times larger than her body, and the Coalition of Geeks sits there trying to figure out who the actress is. That’s when it hits me. “She’s the other sister from Just the Ten of Us!” I exclaim. “The blonde!”
“The slutty one!” Jason shouts. “My favorite!”
That night, TBG’s dream takes him to the junkyard where Freddy was buried in the last film. His dog is trying to dug up Freddy’s bones, and – and this is the scene where Mike declares the franchise jumped the shark – the dog PISSES FIRE on Freddy’s bones. The ground splits and we see the skeleton come back together, and the burned flesh flow back over his body. Freddy’s back. Freddy isn’t happy. Freddy kills TBG, who actually says, “I’ll see you in Hell.” The reply, “Tell ‘em Freddy sent you. One down… two to go.” Next Mute Boy, who is no longer mute, wakes up to find a naked woman in his waterbed, just before Freddy gets him. Well, he should have learned – every time in his life a woman has showed any interest in him, it turned out to be Freddy.
We return to Kristin, who is smoking an unlit cigarette (seriously), and has a serious heart-to-heart with Alice, who Jason has a crush on at this point. She gets to class late, realizes her friends are absent and gets knocked out, only to be awakened by… Robert Englund in drag. As a nurse. Oh, sweet mother of God, Robert Englund makes one ugly woman. Thank God he turns back into Freddy a few seconds later. At this point, it becomes clear they’re trying for comedy, because otherwise they would have used an actual woman in that role, even in the dream, like they did with earlier movies. Alice and her friend, a girl who apparently is a female clone of Steven Q. Urkel, tries to hook her up with some random guy (Dan) she has a crush on. Kristin’s mother, the killjoy, chastises her for not sleeping, despite the fact that her daughter was nearly butchered by a serial killer in her dreams just one movie ago. As it turns out, she’s trying to drug Kristin and put her to sleep. She succeeds. In Kristin’s dream, Freddy chases her (and a little girl – coincidentally named Alice) on a beach, sending Kristin into a pit of the least convincing quicksand in movie history. The sand dumps her into The House, where she flees to the boiler room basement and faces him yet again. Freddy hurls her into the Furnace, adding her to his collection of souls, but not before she somehow passes her “power” on to Alice.
Urkella stays up all night studying for a test, which of course leads to her falling asleep and getting killed, making Alice realize that she’s drawing people into her dreams the way Kristin did. With Kristin – last child of Freddy’s killers – dead, she theorizes that he now needs someone to bring new victims into the dream. She then goes to a class where they’re learning about dreams AND the “Dream Master” (as a high school teacher, I am forced to ask what the hell class she’s taking. I’ve got to jump through eighteen kinds of hoops just to show clips from Romeo and Juliet.) As she drifts off, she accidentally drags her brother into a dream about the bathroom from Hell. He escapes through the elevator (from Hell) and winds up fighting Invisible Freddy in a Dream Dojo. I have to theorize that Ralph Macchio, wisely, passed on this role. Freddy kills him, windows blow up, and Alice realizes that she has got to stop falling asleep in class, which is honestly the most valuable lesson of this entire series.
Back home, she begins playing with Rick’s nunchucks (or actually, a stunt double wearing a really bad wig plays with them), and her friends notice that she’s changing a little after every murder. Unfortunately, they don’t actually do anything about it, and Freddy gets her to pull Big Hair Girl into his dream while she’s working out. Freddy takes her out in a trap devised by Rick Moranis, while Alice and Dan get stuck in some sort of utterly ludicrous time loop, trying to get to BHG in time. (Hint: they won’t.) Instead, they wind up in a car wreck that Dan barely survives. He goes into surgery, while she races home and puts on all of her dead friends’ clothes, including some funky-fresh contraption that Urkel made before she bought it. Just to prove how much she’s changed, she says the F-word… and goes to sleep.
She faces off with Freddy in a pretty decent fight scene in some sort of dream church, finally turning a mirror on him and having him ripped apart by the very souls of his many victims, which was a satisfying ending. Cheesy writing aside, I kinda like this one. They pulled off a pretty interesting switcheroo – making Alice look like just another victim at the beginning, but slowly turning her into the new Survivor Girl (and a hot one at that).
Part five actually begins with a horribly shot sex scene that caused Mike and Jason to scream at the guy involved (it turned out to be Dan) to get out of the way so we could see Lisa Wilcox, back again as Alice. She steps into the shower (where Mike was happy to see her body double through the frosted door), but soon the drain clogs with yellow bile and the entire shower floods – yep, Freddy’s back. My question here is, why is it always so hard to kill one girl throughout the entire movie, only to wind up getting hacked to bits in the first act of the next sequel?
Fortunately, she DOESN’T get killed right away. (I’m glad, I like Alice.) Instead, she winds up imagining herself as Amanda Krueger, trapped in a ward full of psychopaths, about to get all the torment Amanda went through – until she manages to wake up. It’s graduation day! She’s out of Springwood High! She’s managed to make new friends since the last movie (fortunate, since her last batch all died). There’s Model Girl, with Obnoxious Mother, Lusty Comic Book Boy, with Alcoholic Father, and Swimmer Girl. Oh yeah – this is going to end well.
Alice again dreams herself into Freddy’s past, witnesses Freddy’s birth, and winds up facing Baby Freddy (which I believe was a failed pilot for a CBS Saturday morning cartoon) in the same dream-Church where she beat him last time. It’s at this point that Mike points out that, unlike so many horror franchises, the story really has progressed pretty well. Except for part 2, the series has a fairly tight continuity that we all appreciate. By the time we finish this conversation and again discuss pizza toppings, Freddy’s back to full power and gunning for poor Alice. She’s rescued by the spirit of Freddy’s mother, who is begging Alice to help her “release her from her Earthly prison.” Free again, Freddy goes straight for Dan, who survived a car wreck in the last movie. In the name of poetic justice, Fred throws him through a windshield this time, then turns into the Go-Bot motorcycle dude to really do a number on him. It just goes to show you, never fall asleep at the wheel.
Alice, distraught, passes out and wakes up in the hospital, where the doctor tells her that she’s gonna be just fine… and so will her baby. (The titular “Dream Child,” I’m guessing.) While in the hospital, she meets a freaky kid named Jacob who’s really, really sorry her boyfriend died. Freak. By the time Alice’s next friend gets killed, Jason is making jokes about how the Lusty Boy is clearly gay. He says this about everyone: Steven Segal, Clay Aiken, Rosie O’Donnell, Charlemagne… it’s actually tiresome. “Methinks the man doth protest too much,” I say, mocking Jason’s tendency to drift towards that particular conclusion, especially since Jason is looking the guy while the rest of us are looking at Alice in her tight, stonewashed jeans. Anyway, the comic guy winds up drawing himself into The House, and Alice desperately draws herself in after him. He gets lost, but Alice runs into Jacob again, who is now sad about Alice’s other dead friend as well. Jacob starts screaming at Alice for “not wanting” him, and rushes off to be with his friend “with the funny hand.” She makes it back to Lusty Boy’s home, where he’s cut up, but okay.
Alice gets an ultrasound, then falls into a dream where Freddy dumps some of the worst special effects yet seen in this franchise into her uterus. Lusty Boy shows up with a bunch of newspaper clippings about Freddy, but Swimmer Girl refuses to listen, dumps them out of his hand, and storms out. We all decide at that point that Swimmer Girl is, in fact, the worst friend ever, and we are looking forward to her death scene. Later, we get three scenes going on simultaneously. Alice is searching for Freddy’s mother, Swimmer Girl is soaking in a hot tub (asleep) and Lusty Boy falls asleep, surrounded by comics. Mike, Kenny and I start pointing out individual issues and identifying the ones we own. We are true comic geeks. Swimmer Girl, meanwhile, takes the worst high dive since Greg Louganis and winds up almost buying it, but Alice saves her. Comic Book Guy, in his dream, finds an issue we automatically know isn’t a real comic book and therefore will be a plot point, because none of us own it, and is sucked into it. He fights Freddy in a world of black and white comic book artwork and, fulfilling a prediction Kenny made earlier, he turns into the character he’s been drawing since the beginning of the film and tries blowing Freddy away. Freddy pops up in a Dick Tracy-esque supervillain garb and hacks him up like a paper doll.
Alice heads back into dreamland’s version of an M.C. Esher drawing, where Freddy has Jacob in his clutches. The special effects in this film really took a downward spiral, with some of the most obvious green-screen in the whole series. Freddy bursts out of Alice in a way that makes me wish it looked as good as it did when he popped out of Jesse back in Part 2. Swimming Girl, meanwhile, manages to track down Amanda’s ghost, who says “thank you” and vanishes. Apparently, that’s ALL anyone needed to do. The ghost shows up in dreamland, where she sics Jacob on him. He turns Freddy’s own tricks against him, specifically his oft-used tongue routine, and Freddy gets sucked back into Amanda’s womb. Jacob returns to Alice, and Amanda rushes off to trap her son once again. Jacob is born, everyone is happy (including Swimming Girl, who should have died) and we get one last Final Scare, just like always. Definitely a middle-of-the-road episode – not great, not terrible, but somewhere in-between.
In 1991, New Line Cinema made an attempt – as all horror franchises eventually do – to end the series with this “Final Nightmare,” which is set a nebulous “ten years from now,” in which mysterious suicides are plaguing the town of Springwood, Ohio. “The Last” teenager in town has a disturbing falling dream, waking up safe in his own bed… except that his house is now falling from an enormous height. The tornado music from The Wizard of Oz starts to play, just in time for Freddy to fly by on a broom. No, seriously. They even copied the shot of the house coming in for a landing next to The House. By the end of the first sequence, it’s apparent that they’ve really amped up the camp on this one. Mike is disturbed, and Jason is encouraged. Draw your own conclusions.
Our hero falls out of a plane and flees Springwood for a neighboring town where we meet the local group of teenagers, including kickboxer girl, hearing aid boy, and future C-list star Breckin Meyer, who has a ponytail we all would like to cut off. The Last Teenager from the plane – cleverly named “John Doe” — is brought to the shelter where the kids are staying, and his shrink finds a newspaper clipping among his belongings concerning one “Loretta Krueger.” When the Maggie, the psychiatrist, and John Doe have bad dreams at the same time, she decides to take him back to Springwood for no apparent reason, unaware that the other three teens are hiding in the back of the van. They stop off at the world’s crappiest town fair, where they find no teenagers, but an incredibly overeager couple of Tom Arnold and Roseanne Barr (no, seriously). Roseanne wants to keep them like lost puppies, but Tom is terrified of them when the clock tower rings. If that sentence makes no sense to you, now you know how we felt when we watched the movie.
Maggie, showing the level of trust and encouragement that all teenage stowaways deserve, give the three of them her van and sends them “home,” but they wind up getting lost and driving around circles around a run-down, practically abandoned Springwood. Eventually, they enter an abandoned house that suddenly transforms into THE House. Get scared. Maggie and John Doe go to the high school, where a loony teacher is teaching an empty class, and they find a scrapbook of Freddy’s kills, where the clipping about Loretta obviously came from. The loony teacher lets it slip that Freddy had a heretofore unmentioned child that was taken away and dumped at the orphanage. Jason announces that, although the opening sequence was “neat,” the movie is “kinda sucky” now. It is impossible to argue.
Back in The House, Hearing Aid Boy falls asleep and gets his ears cut out by Freddy. There’s a scene here where Freddy dances around, laughing behind his back, but he can’t hear him. We all felt quite guilty about laughing at that. But by the time Freddy pulls out the magic expanding chalkboard to toy with his hearing, I look at the guys. “You know, this sucks as a horror movie,” I say, “but as a comedy, I’m kinda starting to like it.”
At the orphanage, Maggie and John Doe find a drawing of a small family with Freddy, which John immediately concludes means he’s Freddy’s son. (Huh?) They meet up with Kickboxer Girl and rush back to find Breckin Meyer, who’s watching a TV show featuring a surprise cameo by Johnny Depp getting hit in the face by a Freddy-wielded frying pan. Breckin is then captured in a crappy 8-bit Nintendo Game. Well… maybe it’s a little better than 8-bit… 9-bit, maybe. The others enter the dreams to duel Freddy, who laughingly informs John that he’s not his son – he just wants his daughter back. At this point, the room has shifted to an argument between Mike and Jason, who feel like the entire franchise has lost its way, and Kenny and I, who feel like they’ve clearly given up on horror and are trying to make a really bad comedy, and succeeding.
John dies painfully, and Freddy absorbs his soul, then leaps into Maggie the shrink’s mind. She rushes home and begins demanding to know who her real parents were – yep, she’s adopted. Raise your hands if you were surprised by this development. That’s what I thought. She gets sucked into a dream, remembering being a child and finding Daddy’s Special Workshop. Freddy finds her and informs her that stealing the children of Springwood has been his retribution for them taking her away, and together, they head out to her shelter, which – although it isn’t in Springwood – ironically enough turns out to be on an Elm Street. I do have to admit, the line “Every town has an Elm Street!” was actually pretty cool.
Maggie, Kickboxer Girl and the Doc concoct a scheme to send Mags into the Dreamworld wearing 3-D glasses (the last reel of this clunker was in 3-D), grab a hold of him, and pull him into the real world where he can die. She falls into Freddy’s 3-D Nightmare, where she sees him face his foster father, Alice Cooper, and then watches the night of his death. I’m sure this all looked cool in 3-D, but we watched it in 2-D, and it didn’t work nearly as well. As he died, we watched the Dream Demons cut a deal with him, turning him into the eternal demon we know him to be.
We get a final scene with some unexpected backstory, and Maggie tries to yank him into reality, but when she wakes up, he isn’t there. She’s still seeing things like she did in her dream (in 3-D), and so they rush down to an arsenal of clubs and bladed weapons that you’re likely to find in any homeless shelter. They suit up and head out, only to find him in the basement – a scared, pathetic-looking man with no demonic powers, blaming everything on everyone who “hurt” him. Maggie and Daddy throw down, where she discovers hidden knife-throwing expertise and finally impales him with his own glove. Then she blows him up just for good measure.
It’s a pretty much unanimous opinion that this film is terrible. But at least we knew the last one in the series wouldn’t be, because we’d seen it before. Jason and Kenny left at this point, however, leaving Mike and I to brave through the final film in our marathon by ourselves.
Wes Craven’s New Nightmare (1994). For the last film in the franchise, creator Wes Craven came back to try to breathe new life into Freddy. In this film Craven is planning a new Nightmare movie, featuring Heather Langencamp, (Nancy from parts 1 and 3). In a neat bit of metafiction, Craven, Langencamp, John Saxon (who played Nancy’s father) and Robert Englund play themselves. Heather is now married to a special effects guy named Chase who made the new knife-glove (art imitating life — in her real life Langencamp has been married to makeup and special effects artist David LeRoy Anderson since 1990), and their young son Dylan (one of the annoying friends of the Olsen Twins from Full House) is intrigued by the robotics in the device – a fascination that’s killed off when it begins slaughtering people. It’s okay, though, it’s just a nasty dream of Heather’s that gets interrupted by a grand ol’ California earthquake.
Heather, it seems, has been having problems with bad dreams since a crazed fan gave her some harassing phone calls a while back. Her ever-understanding husband assures her there isn’t anything to worry about, prompting questions as to what sort of special effects guy doesn’t know how a horror movie works. She comes downstairs to find her son watching one of the creepiest scenes from the first Nightmare on Elm Street, and he starts screaming like a loon when she turns it off. At the same time, the phone rings – it’s her stalker again, chanting the Famous Freddy Rhyme. By the time the next aftershock hits a few minutes later, Mike has decided he’s never living in California.
Heather heads off to do a talk-show appearance celebrating the 10th anniversary of Nightmare, where she’s surprised by Robert Englund in full Freddy makeup. The audience goes wild, and everyone seems to be clamoring for Freddy’s return, even though he’s “dead.” Robert quips with her about doing another movie together and – surprisingly – she gets a call from New Line asking her to come by and ask about a new project. They want her back for, as the producer calls it, “THE definitive nightmare.” Wes Craven has a new idea based on a new nightmare he had, but Heather is reluctant to get back into the game. And for good reason – she gets home to find her son screaming, with the babysitter impotently trying to snap him out of it. His favorite stuffed animal is lying there too, with four neatly equal slashes.
She calls Chase to come home, but it’s a long drive, and he starts to – ooooooh – fall asleep at the wheel. He clearly didn’t watch the movies his wife wasn’t in, or he wouldn’t have been surprised when the knives appear beneath his seat… or so it seems. His terrifying dream isn’t enough to wake him up before the crash. Back home, Heather snaps awake from a nightmare, and Dylan is up too. There’s a knock at the door – police with bad news about Chase. Amazingly, we’ve been watching these movies for about ten hours at this point, and this is the first time I’ve actually felt bad about one of the deaths. Just goes to show you how good Craven is.
There’s another earthquake at the funeral, and Chase gets unceremoniously dumped out of the casket. Heather looks down to see Freddy pulling him and Dylan into the silk, and dives after him, pulling him away from an even nastier glove than she was used to seeing. She snaps to, having been knocked out in the earthquake. Chase is still in the coffin, Dylan is fine, and everyone is pretty perturbed. Everyone leaves, but the camera lingers a bit on Wes – he seems to have that, “Oh no, this can’t be happening look.” Heather wakes up to again find Dylan watching the original Nightmare and walking in his sleep. He’s been hearing Freddy in his dreams, and he’s asking the tough questions about what happened to his daddy. Another point for Craven – this is the first film that really seems to show the impact of death on the family left behind. Dylan wants his mother to come with him into his dreams, but she can’t. After all, that sort of thing only happens in the movies.
She calls up Robert to talk about what’s been happening, only to find that he’s been having premonitions about an even darker Freddy himself. What’s more, Wes is working on the script and has reached the scene where “Dylan tries to reach God” – exactly what he did in the previous scene, in which he nearly killed himself on a piece of incredibly poorly designed playground equipment. Freddy’s next attack lands Dylan in psychiatric care, and she rushes off to talk to Wes, who tells her he’s writing the new script based on his dreams each morning – he doesn’t know where it’s going, but it’s about an ancient evil entity that takes different forms over the years to murder innocents. It can only be captured, periodically, by storytellers who trap it in stories… but when the stories end, the monster escapes. Craven here has a delicious commentary on how the films were watered down after he left, and it really hammered home what’s wrong with Hollywood today.
Long and short – because she beat him in the first movie, Freddy has to go through Nancy to get free and terrorize the real world again. The only way to trap the monster? Make another movie. Dylan gets carted off to the hospital and Heather winds up having to take him into the Dreamworld to face the dark creature that has taken Freddy’s form. The “new” Freddy design here is great – familiar, but even more twisted, more evil. The final battle works very well, and we’re left feeling like we really did legitimately see something “new.”
As New Nightmare ended, Mike and I decided to pass on Freddy Vs. Jason, as it was already 1:30 in the morning and, frankly, we’re grumpy old men. Plus – as I mentioned before – I reviewed it last year. But Mike and I agreed that New Nightmare was easily the best film in the series, and A Nightmare on Elm Street 2 easily the worst. And most importantly, we decided we had a hell of a lot of fun, and ended the night with a promise to get back together next October and do it again. I’ve done Jason Voorhees. Together we did Freddy Krueger. For the 2008 Halloween Party? It’s gonna be Michael Myers’ turn.
Back to the present day here. Since this blog was written, of course, there’s been a new Nightmare film, a remake. We didn’t write a review of it, but my fiance Erin and I recorded a review for the podcast in 2010. For the sake of completion, here’s the blurb and link for that podcast episode:
2 in 1 Showcase Episode 174: Greetings From Pittsburgh
Blake and Erin get on the microphone together for another of their epic visits together. The two of them discuss their adventures seeking out new comic book stores, how Blake was worried about defending the honor of the New Orleans Saints in the midst of Steeler nation, the glory of Bacon Night, and what they thought of the remake of A Nightmare on Elm Street. In the picks, Erin digs Power Girl: A New Beginning, and Blake was a fan of Young Allies #1.
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.
Writers: Charles Band & Kenneth J. Hall
Cast: Paul Le Mat, William Hickey, Irene Miracle, Jimmie F. Skaggs, Robin Frates, Matt Roe, Mews Small, Barbara Crampton, Kathryn O’Reilly
Plot: Following an opening sequence comprised of close-up shots of various puppets, we begin with an old man (William Hickey) painting and talking to a series of puppets that are moving independently, intercut with scenes of what appears to be the point-of-view shot of another puppet trying to sneak into a hotel, the Bodega Bay Inn. The puppet, a hook-handed creature with black eyes (Blade, according to Wikipedia), eventually makes it to the old man’s room while evading a pair of men in trenchcoats. As the two men – Nazis, as it turn out – approach, the old man hides his puppets and kills himself.
Fifty years later, we meet Alex Whitaker (Paul Le Mat), a psychic plagued with dreams of violence. He contacts three other psychics: Dana Hadley (Irene Miracle) and the husband-wife team of Frank Forrester (Matt Roe) and Carissa Stanford (Kathryn O’Reilly). The four of them are summoned to the side of their old acquaintance Neil Gallagher (Jimmie F. Skaggs) to compare notes. Upon arriving at the Bodega Bay Inn, now owned by Neil’s wife Megan (Robin Frates), they find Neil has committed suicide.
That night a puppet with a tiny head (Pinhead, evidently) climbs out of Neil’s coffin and begins roaming the hotel. At dinner, Dana tells Megan that Neil only married her for her money, prompting Megan to leave. Alex follows her and apologizes, explaining how Neil called them together years ago to study an Egyptian secret for imbuing life to inanimate objects. Later, Pinhead murders the hotel’s housekeeper and Megan faints when she finds that someone has propped up Neil’s dead body in a chair. As the psychics retire to their rooms, the puppets begin to roam the hotel, murdering Frank and Carissa in the midst of a sex-fueled “psychic experiment.”
When Neil’s body again is moved, this time to Dana’s room, she tries using her skills as a fortune teller to put him to rest. She’s instead attacked by Pinhead, who breaks her ankle to slow her down. Pinhead chases her to the elevator, where Blade slices her throat. Alex has a dream about Megan dancing with a masked man – Neil, as it turns out — followed by a flash of the three other psychics dead, with their heads in his bed. The real Megan arrives and tells Alex she has something to show him, just as she did in his dream. She’s found the diary of the old Puppet Master, who calls his creations “harmless,” but fears what they will do in the wrong hands.
In the dining room, Alex and Megan find the murdered psychics propped up at the table. To their surprise, they find Neil seemingly alive and well. He explains that he did, in fact, commit suicide, but not before using the old Puppet Master’s secrets to grant his body immortality. He had to kill the others, he explains, because their psychic link would eventually have led them to him. He’s tired of the puppets, though, and he tosses one aside, shocking the others. He also confesses to killing Megan’s parents to manipulate her into marrying him, granting him access to their hotel and leaving him free to search for the old man’s secrets. The puppets revolt, turning on Neil and killing him for good.
Thoughts: This is an odd sort of film, the kind of movie that has something to it, but overreaches. It’s a clear attempt by Full Moon Entertainment to start off their own horror franchise in the vein of Friday the 13th or Nightmare on Elm Street, and it would seem to have been at least partially successful… after all, as of this writing there have been a whopping ten sequels to this movie. On the other hand, those sequels (and this original) have all been direct-to-video and have limited cultural impact. If you were to show the average person a picture of Blade, the franchise’s most iconic puppet, they wouldn’t have any idea what they were looking at, and may even mistake him for a creation from the Saw franchise.
That said, let’s talk a little bit about what this movie does right. First of all, the puppetry is honestly not bad. The close-ups of the puppets, all done in a 1989 before CGI took over the movie landscape, appear to be legitimate puppet work, and it’s impressive. It’s slow, and it’s creepy, and that works to the movie’s favor. The shots that require a full-figure puppet to walk around in the frame are all stop motion. It’s not as impressive as the puppetry, but it’s not terrible. The greenscreen used to add them into the scene, however, is pretty bad, full of nasty and highly visible artifacting that pulls you out of the reality of the moment, such as it is.
It’s this, more than anything else, that hurts the movie. The puppets stumbling around in stop-motion look like nothing so much as a cartoon, and a silly one. Once you start seeing that, the fear level drops. You’re already dealing with puppets, after all, you have to work to convince the audience that they’re threatening. Child’s Play did it fairly well, but this movie doesn’t. The scene where Dana throws the Pinhead doll across the elevator looks like exactly what it is – a woman chucking a doll. It robs the creatures of any menace they possess. Sadly, it doesn’t go quite far enough to reach the “so bad it’s good” level of entertainment.
The characters are all pretty bland. Megan and Alex are both completely dull and blank, Dana is a stereotypical bitch (she even refers to herself as much) with a tacked-on southern accent, and Frank and Carissa seem to exist only to throw in a quick sex scene prior to kicking off the murder spree. You don’t feel for them, you don’t get to know them, you don’t care when they die and you don’t care if they survive.
Neil, as a villain, is weak as well. We’ve got the standard immortality motive, with a tacked-on excuse for him to murder the others. Why did he need to murder the other psychics? Because they would have found out he hadn’t really killed himself. Well… okay… but why did he feel the need to fake his suicide in the first place? Did the magic that animated him need his “death” in order to take effect? Could they have made that a little clearer? Or did he just get off on killing people – he did murder Megan’s parents with no remorse long before he was immortal, after all. Or maybe – and I know I’m reaching here – maybe the screenwriter just didn’t think things through all that well.
There’s a weird sort of attempt here at a Twilight Zone-style morality play. Neil wants something mankind isn’t supposed to have, he employs some homemade monsters to try to get it, and in the end those same creations turn on him. But that said, it fails to live up to the standards of Rod Serling, with a half-assed attempt at an ironic moral that might actually have worked in a half-hour TV show, but loses its steam in the film’s 90 minute running time.
In the end, Puppet Master is the sort of movie that isn’t quite good enough to be good and isn’t quite bad enough to be fun, which is the saddest kind of film to watch. That said, I’ve got other films in the franchise amidst my collection of crappy movies, and those may well be worth the watch. It’s often from mediocrity like this that truly insanely bad movies, the ones that are a blast to make fun of, flow in future installments.
The first Reel to Reel study, Mutants, Monsters and Madmen, is now available as a $2.99 eBook in the Amazon Kindle store and Smashwords.com bookstore. And you can find links to all of my novels, collections, and short stories, in their assorted print, eBook and audio forms, at the Now Available page!