I’m saddened, as are many, by the news of Harold Ramis’s death. If you’re in my generation, his contribution to Ghostbusters is the thing you automatically think of. I don’t know how many times I’ve answered the question, “What do you like to do?” with, “I collect spores, molds, and fungus.” Every now and then someone will get it. I mean, everyone wanted to be Peter Venkman, but I think most of us kinda wanted to be Egon Spengler in some way, too. At least I did.
As I grew up, I realized just how much Ramis did in terms of writing and directing. I saw him on a talk show in 1990/1991 (I keep thinking it was Pat Sajak’s late night talk show) where he was asked if he was the class clown in school. Ramis answered, “I wasn’t the class clown; I was the guy who wrote for the class clown.”
It’s something I held dear to me and utilized throughout high school, when I was super shy and quiet. I would mumble wise-ass remarks under my breath and my classmate Chadd would yell them out. The class would laugh, he’d get in trouble, and I’d be satisfied that I came up with something funny.
Today’s news of his death at 69 deeply saddened me.
It also made me wonder something….
There has been talk about Ghostbusters 3 for the last few years, and everyone has said that the hold-out was Bill Murray. But as I read about Ramis’s health issues, the time-frame coincides with news about a new Ghostbusters movie. Since it seems that everyone is surprised by Harold Ramis’s ill health outside of family and friends, I posit this:
Perhaps Bill Murray wasn’t the hold-out after all. Maybe with Ramis being sick, the idea was to sort of fake the press and fanboys and -girls out with Bill Murray accepting the “blame.” This would take any pressure off Ramis and he could recover, which it seems was expected. Perhaps Murray was doing his old friend a solid by taking any spotlight away from him. Aykroyd would play along until Ramis got better and they could all make the third movie.
I know, it’s far-fetched and silly, but the thought crossed my mind and what’s the point of having a blog if you can’t post fan speculation?
Either way, Harold Ramis is gone and the world has become a little less funny.
So last week I sat down to watch John Green‘s Vlogbrothers video called, “A Middle Aged Man.” The title should have tipped me off right from the start. But it didn’t. So there I sat, ready to be entertained by Green’s witty, intelligent, and machine-gun-paced monologue when he points out, right at the beginning of the video, that he’s a middle-aged man. The realization of that shocked him. I laughed. Ha! He’s right! He’s 36 years old, he is, indeed, middle–
That’s not possible, because I’m 36. Not only that, but John Green and I were born on the exact same day. I mean, Steve Guttenberg and Rupert Grint also share a birthday with me, but they were born in different years. Guttenberg is 19 years older and Grint is 11 years younger. But John Green and I? Twins. From different mothers. And different locations.
Goddamn that got weird.
So it stands to reason if John Green is middle-aged, then [gulp] so am I.
Which began to make a lot of sense.
When I was a kid in the 1980s, there were a lot of movies and TV shows about adults reaching their mid-30s. I didn’t understand why at the time because in the mid-1980s, I was too young to get it. Between The Big Chill and Thirtysomething, various movies and TV shows where people went back to their hometown or told stories of their childhoods in the 1950s, there was a lot of it. As I got older, I saw even more of that as I read Stephen King’s novel It and novella The Body (the basis of the film Stand By Me) or listened to Bruce Springsteen’s Born in the U.S.A. which features “Glory Days” and “My Hometown,” amongst other songs looking back. Billy Joel was “Keepin’ the Faith” and it seemed everywhere you looked, people were coming to terms with this thing called adulthood.
That has been me for the last year. I’ve been longing, with an ache from my core, to return to those Saturday mornings when cartoons played on TV, and the Creature Double Feature aired on Channel 56 out of Boston. I’ve been longing to go back to the local mall as it looked back then, hit the Waldenbooks, and get myself stuff that isn’t available anymore. To be in a place, for just 24 hours, where the Internet didn’t exist to the public. When movies relied on more than CGI effects and explosions to hold a mass-audience’s interest. I mean, don’t get me wrong, 1984 was no walk in the park. And as Billy Joel sings in the aforementioned song, “The good old days aren’t always good/Tomorrow ain’t as bad as it seems.” Make no bones about it, I know I’m looking at things through rose-colored glasses.
But that feeling has been so strong for the last year or two, and I couldn’t figure out why. Until John Green pointed it out. I’m middle-aged. In 30 years, no one would be shocked if I dropped dead. Yeah, 66 isn’t exactly elderly anymore, but…. That’s a chilling sentence to me and I want so badly to delete it, but I’m going to keep it because it makes me uncomfortable.
I work with teenagers, I have a daughter who is turning 16 in two months, and another who is 15-months-old now. They help keep me young, all of them. But still….
There isn’t the kind of looking back now as there was in the 1980s because the Baby Boomer generation was so plentiful. They focused their attention on themselves and on the fact that the generation who would help change the world had become part of the establishment. Rampant crime, the destruction of business laws, the dissolution of personal freedoms, and the biggest chasm between the rich and everyone else since the Great Depression is what they left us with. They also left us with the Civil Rights Act, Equal Rights, free love, and the idea that we are both individuals and parts of a community. Oh, and the ability to be completely self-absorbed.
What will my generation leave behind? Cool status updates and Tweets? Some blogs? Superhero movies?
I don’t know, but I think it’s time I need to think about some things.
I’m writing this on the iPad, so if there are major typos or just seemingly illiterate stuff that pops up, that’s probably why. I dare not try going into the office because I may wake–or alert–the Toddler, Genevieve.
This week, G has been sick. Last weekend her normal morning congestion was extremely bad and went on throughout the day, which made it not morning congestion but, rather, a cold. After a slight fever Monday night, Pamela stayed home with her on Tuesday and took her to the doctor. G has a virus that needs to work its way out.
Wednesday she went to day care but had a bad day, so I stayed home with her on Thursday. Back to day care yesterday. She’s a little better but is still sniffly, ooey-gooey snotty. The cough isn’t as bad. I put her down for nap about an hour ago and she wasn’t happy. She’s either sleeping right now or daydreaming; making only small sounds every now and then.
Due to her being sick and my worrying (our worrying), as well the the typical stressors of being a high school teacher, I dropped the ball this week on writing. I’d been doing real well with editing, revising, and rewriting the novel but this week I did nothing. I was too goddamn tired. I read a little before bed (Supergods by Grant Morrison) each night but that was all. With vacation being this coming week, I’m hoping to play a little catch-up. We’ll see.
How anyone with full-time jobs and families make the time to write is amazing to me. At least I’m just over halfway done with this draft of the book.
Back in July, I posted my feelings about trying to get the baby to take a nap on her own and listening to her cry. Having her Cry It Out was breaking my heart but I did what I thought was right and was steadfast and, eventually, Genevieve fell asleep. She slept an hour or two. I was happy. When she woke up, she was smiling and in a good mood. But I noticed something odd: Her head was tilted to the right.
I took her out of the playpen and changed her diaper. She was sitting up pretty well by this time and I sat her on the floor. Her head was still tilted. I hesitantly touched her neck, applying just enough pressure to see if the muscles felt tight. They did not. When I lifted her head, she made no sound, showed no indication of pain or discomfort. She was her normal, happy self. But her head tilted.
Oh no, I thought. I broke the baby. Pamela is gonna kill me.
For half an hour, G’s head stayed tilted. Finally, I called the doctor’s office. By now the office was closed so the answering service picked up. I explained the problem and they said they’d call back. Soon they called and told me to bring G in to see the on-call doctor. I was getting her packed in her car seat when Pamela got home from work. Imagine coming home to find your husband packing up your baby to take her to the doctor. Yeah.
So we went, and the doctor looked at G, and nothing was found. Because she wasn’t in pain, because she was behaving normally, they decided it was probably a crick in her neck and it would pass. If we wanted to take her to the ER, we could.
We went home and by bedtime, her head was almost upright, and by the next morning she was holding her head up again. All was well.
It happened again in September or October. It only lasted an hour or so. Again, no pain, no discomfort. By now, G was crawling like a mad person—ZIP!!–and the tilted head made her lose her balance a little. But it went away quickly so we did nothing.
Well, not entirely nothing. Ever since the first time G’s head tilted I’d watch her when she got up from a nap. She was always fine, though.
On New Year’s Day, it happened again.
Because of the first incident, I’d gone back to rocking her to sleep and allowing her to nap on me. It was inconvenient but the tilted head was terrifying. So on New Year’s Day, Pamela was rocking the baby to take a nap around 2:30. The baby decided she didn’t want to nap so we put her down. It wasn’t really her naptime and no big deal. When she was put on the floor, G’s head tilted. She’s walking now. She’s not 100% yet, but she’s predominantly walking to get around. She tried standing and fell down, obviously unbalanced. Naturally, we parents were concerned.
G soon decided she did want a nap and fell asleep. She slept for nearly two hours. When she awoke around 4:15, she wanted to play. Her head was still tilted. She was having trouble crawling and walking but was trying. She wasn’t quitting. She wanted to play and Pamela and I were discussing what to do—call the doctor? Take her to the ER?—when G rested her head on my knee, looked up at me, and threw up.
At the ER she was checked out. She was normal in every way, typical Genevieve, except that her head was tilted. She was waving at the doctors, nurses, and people who passed by our cubby. A CT scan came up with nothing, which was a huge relief. A few days later we took her to her doctor, who made us appointments at Boston Children’s Hospital. One for an ear and throat specialist, one for a neurologist.
Last Tuesday, we went to the ear specialist. She had hearing tests and everything looked fine. So now we were nervous about the next specialist because, well…you know.
Friday we were at the neurology offices. After hearing our story, and double-checking the CT scans, we were told that it was benign paroxysmal vertigo. Essentially, she gets dizzy sometimes. It may never happen again. Or it may. The one thing the doctor was certain about is that she’ll outgrow it. The only possible side effect is that she may be more prone to migraines when she gets older.
Relief. The following day was Pamela’s birthday so we went and celebrated at our favorite Chinese restaurant.
As a father of a 15-year-old, I know that things can and/or will happen that puts us on edge. You want to make sure the children are safe and well, and that they’ll lead happy, healthy lives. When we waited with the 1-year-old in the waiting rooms, it was brought home to us how lucky we have it. As we left that last appointment, even more so.
We have a healthy, intelligent, and beautiful baby-soon-to-be-toddler. My teenager is also healthy, intelligent, and beautiful. I will enjoy them in a way that only a proud, happy, and amazed father can.
One of the biggest problems with writing long fiction is the certainty that you’re fucking it all up. I’m about halfway through editing/revising the novel and I’m pretty sure I’ve fucked the whole thing up way beyond repair. Now keep in mind that there’s no evidence, not one iota, not a single scintilla, that would lead me in that direction. It’s just insecurity speaking. The voices of Them.
You know who They are. They are the ones who laughed at you at school or in your old neighborhood because you were too imaginative, you didn’t fit in, you weren’t interested in sports. They are the members of your family who wonder when you’ll stop wasting your precious time at night (or in the morning, or on weekends) working on your stories, your fantasies, your games you played as a child with plastic men and women with accessories or Action! Features! and grow up. They are the ones you see in reflections in the windows at the Day Job, or in the mirror when it’s too late and those bags under your eyes are awfully dark tonight and in the morning when it feels too early and the bags are worse and why, why, WHY the Day Job that takes up too much time, too much energy, too much creativity?!
Yeah, I’ve fucked up the novel. I’m sure of it. So there’s only one thing to do now….
I’ll pick up the current chapter I’m editing tomorrow night and continue. It all comes with the territory.
HAPPY NEW YEAR!
There, now that that’s out of my system, let’s get to it.
Except…there’s really no it right now. 2013 is over and it was a good year, overall, with lots of bad weaved throughout, but isn’t any year? And, lucky for me, most of the bad was societal bad, not personal. Though I am all-too-aware of my failures from the past year, but aren’t we all?
I’m not really going to post about what my goals for 2014 are because if they don’t happen, then I look stupid in a public arena, as opposed to the personal list I make every year, which only makes me look bad to me. I do want to make changes this year, but who doesn’t?
There’ll be a move this year, and I’m going to have to finally get ready to get Master’s (and actually begin the process). And there’ll be writing. Lots of that. I’d still like to try vlogging but there’s an amount of time for that I just don’t seem to have, though I’m not giving up yet. You get the idea.
So have a great New Year. I’ll be back soon.
Since I haven’t posted in awhile, and since it’s the holiday time of year, I decided to post something festive. Maybe it’s that I had both the teenager and the baby with me for the last few days and the baby is conscious of presents and fun. Maybe it’s that I’m getting older, but I seemed to have been craving Christmas music lately. So I decided to post my favorite holiday music for you. Keep in mind, this list is not set in stone and could change by tomorrow, but it’s mine and I love it.
10. Blue Christmas as sung by Bruce Springsteen
This is a recent addition to the list. By that I mean, it’s only a few years old. I’m not a huge Elvis Presley fan but one of my favorite songs of his is “Blue Christmas.” Back in 2010, Springsteen and the E Street Band played a show in Asbury Park, New Jersey that was taped. It was to promote his re-release of 1978′s Darkness on the Edge of Town and new album of previously unfinished and unreleased tracks from that era The Promise. The show featured only tracks that appeared on The Promise. Except for this song. I love the way Springsteen arranged it and the general atmosphere of the performance. Also of note, it would be the last “live” recording of Clarence Clemons with the band. He died the following June.
9. Happy Christmas (The War is Over) by John Lennon
Let’s call this one my Artsy Fartsy entry. I don’t know the words, it’s not on my iPod, but I still know it and like it. And it’s John Lennon. Come on.
8. Frosty the Snowman as sung by Jimmy Durante
I wouldn’t have even thought of this if not for a recent trip to the grocery store where this was playing. We grew up watching these specials and sometimes, the versions from those specials are what sticks. That’s the case here. Besides, it friggin’ Durante!
7. Jingle Bell Rock as performed by Hall and Oates
I love Hall and Oates. There. I said it. “Maneater.” “Your Kiss is on My List.” Egads, need I say more?! This song, along with its tongue-in-cheek hokey video, was a part of childhood I always loved. And I just like the song, too.
6. Rudolph, the Red-Nosed Reindeer by Gene Autry
Look, if you grew up with parents who came from the 1950s or 1960s, you had this song played every Christmas. Growing up, the Gene Autry original was my least favorite version. Now, it’s the version. Well, maybe except for…
5. Silver Bells as performed by The Chipmunks
Christmas with the Chipmunks was the Christmas album in my household growing up. I loved it. “Rudolph” and “Frosty” and so many others were done in that madcap Chipmunks way with Dave Seville yelling constantly at poor Alvin. It was my life, only instead of Dave it was my parents and instead of Alvin, it was me. “Silver Bells” was a rare exception. It’s sung by Dave Seville and is a little sad. As a kid, I liked it but it was…well…quiet. Now, it’s the only version of “Silver Bells” I hear in my head.
4. Christmas in Hollis by Run D.M.C.
If you were growing up in the 1980s, and you were open to rap, you love this song. The video is even better. I remember my parents being…shocked? upset? amused?…that I liked this song and probably thought it was just a phase. Yeah, well, guess who rapped it to a 1-year-old the other day? That’s right. This guy!
3. Santa Claus is Coming to Town as performed by Bruce Springsteen
I love the song “Santa Claus is Coming to Town.” I loved the stop-motion animated special. I did not love the Springsteen version. Until recent years. The video shown is good, but the original recording from 1978 (I think, maybe ’81?) is where it’s at. The verse after the sax solo shows a reckless abandon and joy that is pure Springsteen and pure rock n roll. It’s a fun song, okay?
2. All I Want For Christmas is You by Mariah Carey
Yes, I love this song this much. I am not ashamed. It’s a damn good song. I like the music. I love Carey’s vocals. It’s a song that makes me happy. So there.
1. The Chipmunk Song by Alvin and the Chipmunks
This is Christmas to me. This is my favorite song on Christmas with the Chipmunks. It is my favorite Christmas song, period. It made me laugh when I was a kid. I could relate to it. It was just fun. And it still makes me smile. Love it!
Honorable mention goes to “Must Be Santa,” a song I never heard recorded but loved to sing in elementary school.
For me, Christmas isn’t a religious holiday. It’s a day (or time period) to spend with family and friends, to be together, perhaps exchange gifts, eat, and have fun. And enjoy some music. So have a happy Christmas, if you celebrate. If you don’t, go be with people you love, eat, and sing some songs anyway. We could all use a little more of that, right?
Strangely enough, found that someone did an Internet search for the following: “bill gauthier the shining book review titan magazine”. That’s oddly precise.
They found my bibliography.
The story behind the review is kind of funny. I found out (somehow or another) that some local guys were going to start a magazine called Titan, which would be something like The Improper Bostonian for the New Bedford area. I looked into being a book reviewer or somesuch and was told to submit a sample. So I wrote a review of Stephen King’s The Shining, figuring the editors would check out my style and see if it was a good fit, and then we’d go from there. They used the goddamn review. Then I was told that they’d be interested in more from me, but only if it was more contemporary.
I think it was the last thing I submitted to them. The pay was pretty bad, too. Meaning, it was nonexistent.
Anyway, I have copies of the actual magazine, if someone is looking for it.
The title may be a bit misleading. I’m not actually planning on writing about Genevieve’s entire first year. But it does weigh heavily on me. Last week was her birthday and yesterday was her birthday party. Not everyone I would’ve liked to be there was because of space and situations. It was mostly Pamela’s family and friends. My 15-year-old was there, representin’ the Gauthiers because my sister lives in Florida and my mother is unable to leave her apartment. Still, fun was had by all. The baby made out like a bandit (sorry for the cliché, I’m tired), everyone loved the cake (thanks to Cravings Café & Cakery), and the baby had a great time.
Still, the passage of time is felt. One year becomes fifteen real fast. All I needed to do was look at Courtney and Genevieve together.
One year becomes fifteen in a heartbeat, it seems. I know that’s not true. A lot has happened in fifteen years. My life changed, and changed again, and changed at least three more times. The lives of those around me also changed. The world has changed. Fifteen years ago as I write this, I would’ve been using my first computer, a gift from my parents. It wasn’t connected to the Internet just yet, and wouldn’t be for another month or two. And when it was finally connected, it was with America Online, dial-up. Now I sit at my fourth computer, a notebook computer, typing on a blog via wireless broadband. That’s but one change.
So to see that the baby is already one is a little disconcerting. There will be lots of adventures in her future. Lots of firsts. I look forward to them, and I fear them. But I mostly look forward to them. Just as I look forward to the firsts that my teenager still has to encounter, as my wife will encounter, as I will encounter.
So now that I’ve finally gotten through the Friday in Gautham essays (or essays on the Friday the 13th movies) I’m left feeling the same sense of fatigue that the previous movie series left me feeling. I had planned on jumping straight into the next series, but find I just don’t have it in me right now, not with the novel to work on.
But that’s okay, because I will do another one, and probably another, as long as readers seem interested.
So, the Genevieve turned one this past week and her 1st birthday party is this Sunday. It’s a three-day weekend that won’t feel much like a weekend. That’s probably the most difficulty I’m having as a new father this time around: losing so much alone time.
I had friends growing up, but not many. Given a choice between playing with a group of kids or playing with my action figures, the action figures always won out. This led naturally to the writing lifestyle of hours alone in a make-believe world. I like that alone time. Thrive on it. So to have my alone time so diminished is pretty frustrating.
That said, I’m extremely lucky to have lost so much alone time due to people I love. Of course, the Day Job’s squelching of my alone time is an entirely different matter, though at least my students are great and, often, inspiring. So it makes the loss of time worth it.
That said, I should get back to work. I just wanted to let you know I’m here and will be trying to post more.
We survived this time. We went through twelve movies that had fairly bad reviews when they came out but captured the interest of many in the 1980s, 1990s, and into the 2000s. The character of Jason Voorhees is a part of American culture in the same way Karloff’s Frankenstein’s monster was in his day (and even now). Sure, he lacked the attitude and flash of Freddy Krueger, or the bizarreness of Pinhead, and he certainly wasn’t a cute as Chucky, but Jason held his own.
Looking back, I question whether it was a good idea to go down this road at all. Over twelve essays, I’ve hardly had anything nice to say about these movies. Fans of the series probably checked out a long time ago. What I want you to know is that when I decided, over a year ago now, to go watch these movies and write these essays, I did so in the hopes that they would surprise me. I wanted to see in Jason what his fans saw. I wanted to be able to say that, yeah, I got it.
But I don’t. I get why these movies made money, that’s not in doubt. But I don’t get how these movies are still revered. With the exception of the sixth movie, they’re not all that much fun, or clever. Jason is hardly ever scary. And you never really care about any of the victims.
Yet, their fame persists. I feel like I’ve been too critical–too grumpy, maybe–over these movies that were never designed to be good movies. Where I can make a rather funny argument that the A Nightmare on Elm Street movies are arguably the most important movies of the 1980s because of the socio-political commentaries (someday I may even tell you about that. It’s tongue-in-cheek but I think I have some actual good arguments), I have trouble finding any socio-political worth to the Friday the 13th movies. Except, maybe….
Jason represents Reagan era politics. Jason Voorhees is the conservative machine bent on killing the liberal 1960s and 1970s. The young people who die are lovemaking, pot-smoking kids (hippies) in the earliest movies and MTV kids in the later movies. Jason is a throwback to the conservative ideal that the good ol’ days were better. Once these kids started to experiment with free love and mind-altering substances, their morals and convictions went out the window. And even though Jason always dies at the end, it’s always by the girl (or the girl and guy) who is the cleanest cut of the group, the ones who will probably grow up to vote for the Conservative.
I totally pulled that out of my ass, but it reads well so I’m going to keep it.
Anyway, my favorite of these movies is Friday the 13th Part VI: Jason Lives. I think I’d actually own this and watch it again. That and Freddy vs. Jason, which I do own. But you know why. My favorite Jason is a toss-up between the Jasons in those two movies (C.J. Graham and Ken Kirzinger). Though I liked the Jason in the remake (Derek Mears), as well.
With the recent sale of the series back to Paramount, and their plans on doing another reboot, it’ll be interesting to see if they try to make an actual scary movie (if they even can) or just do more of the same. I guess we’ll see.
For now, though, we made it away from Crystal Lake (and New York, and Space) with most of our limbs intact. Thanks for making this journey with me.
I’ve said it here before. I’m not opposed to remakes. There have been some really good ones. Cronenberg’s The Fly, for instance. Zack Snyder’s Dawn of the Dead is another. I even like the Peter Jackson King Kong. I think that if there’s good material at the base, or at least interesting material, and you get a good writer and director, you can make a damn good movie.
Platinum Dunes went for a while producing remakes of horror classics. The production company, led by Michael Bay, Brad Fuller, and Andrew Form, has been responsible for the remakes of classic movies that I grew up watching: The Texas Chainsaw Massacre (2003), The Amityville Horror (2005), The Hitcher (2007), A Nightmare on Elm Street (2010), and, of course Friday the 13th (2009).
Of that list, the only movie whose original I still haven’t seen is The Amityville Horror (1979). Of that list, the only other remakes I’ve sat through were The Amityville Horror (aka Ryan Reynolds Takes His Shirt Off Too Goddamn Much) and, well, you know. And now, of course, Friday the 13th.
So, what’s to say about the remake? Well….
The cast and acting aren’t terrible. Honestly, my only problem with it is that the cast is too damn pretty. The girls, the guys, everything is a little too slick, a little too polished looking. And in terms of characterization, it’s not terrible…for a Friday the 13th movie. It’s not my favorite cast, but it’s not a terrible one either.
The writing is also not terrible. With a story by Damian Shannon, Mark Swift, and Mark Wheaton, and a screenplay by Shannon and Swift (the duo who wrote Freddy vs. Jason), the script is fairly solid. Are there plotholes? Yeah. Are they major? Meh.
Jason Voorhees (Derek Mears) is returned to his roots as a really mean hulk of a man. He’s not just shambling around and appearing places. His body language is quick and vicious. He’s imposing and unsettling.
By now, call it a remake or a reboot or a re-imagining, it’s still Friday the 13th. The very premise of these movies is young people getting slaughtered in the woods. So whether you call it a remake/-boot/-imagining or call it Part XI, it’s pretty much the same. There’s nothing really new here. It’s a rehash and condensed version of the first four Friday the 13th movies retold for a modern audience. The characters are little more than stereotypes and the suspense is non-existent. Jason is as Jason does, and what he does is kill. The writers and director Marcus Nispel try to bring more pathos to the victims but it never really works.
A Quick Aside
I’m going to take a moment here to digress. I want to talk about the two Platinum Dune remakes that I’ve seen recently and know well: Friday the 13th and A Nightmare on Elm Street. I saw Amityville on a date and remember very little about it. One of my problems with the company that’s at least one-third Michael Bay is that, like most of Bay’s movies, they’re all flash and little substance. The idea that Bay, Fuller, and Form think they are rebooting and re-imagining these movies is troubling or silly, I can’t decide which one.
Their idea of re-imagining is giving us the same story, the same characters, and the same situations, and changing little things for the sake of changing them. In the case of Friday the 13th, it doesn’t matter much, but in the case of A Nightmare on Elm Street, their hubris and their unwillingness to acknowledge the good of the original hurt the material. I suspect their other remakes have the same problem. By taking these original tales and putting their own spin on them, they trivialize the classics the producers claim they love so much and turning them into modern messes.
Saturday the 14th
The thing with the remake of Friday the 13th–and I refuse to call the Platinum Doom (I meant, uh, Dune) movies reboots, they aren’t original enough to hold such a pretentious title–is that, unlike A Nightmare on Elm Street (and presumably their other remakes), it’s not actually much worse than the movies that inspired it. If anything, it’s more of the same. Taking a movie (or series of movies) that have a thin foundation to begin with and just doing the same damn thing isn’t going to be unfaithful to the original, it’s just going to be another one.
There was supposed to be a sequel but as recently as this past summer, news is that the sequel has been scrapped due to New Line Cinema selling Friday the 13th and Jason and the rest to…drumroll…Paramount. And guess what Paramount plans on doing?
Yeah. A reboot.
Look, I already wrote this essay, but this one is going to be a little different. When I originally wrote about Freddy vs. Jason, it was from the viewpoint of a Freddy Krueger fan who’d hardly seen any of the Friday the 13th movies. At this point, I’ve seen them all and feel a little more comfortable going into my thoughts on this movie in regards to Jason. If you haven’t already read my original (and I’ll say, for now, definitive) take on Freddy vs. Jason, click on the link and read it. It all still applies.
I like this version of Jason Voorhees (Ken Kirzinger) probably more than any other. I know that Friday the 13th fans (those poor souls who will admit to it) were outraged that Kane Hodder was not cast as Jason in this movie, even after it had looked like he would be. I know there are still people upset by this. Get over it. Ken Kirzinger’s Jason actually performs in this movie. One gets a sense of vulnerability even though Jason is still the cold-blooded, mindless killer who has been through ten (should I even count Jason X?) movies. And his size is quite imposing.
The movie has a silly basis and is fun. There are a few creepy parts (belonging to Freddy) but it’s really not scary. It’s gory, silly fun. Anyone going into a movie called Freddy vs. Jason wouldn’t want it any other way. In this movie, Jason is his normal force to be reckoned with. He stabs, crushes, beheads, impales, and slashes his way through the victims in this movie in the way he always had. If anything, this movie’s silliness allows it to be the goriest of all the Friday the 13th and A Nightmare on Elm Street movies.
There’s an attempt by the screenwriters Damian Shannon and Mark Swift, and director Ronny Yu, to give both characters a little more background, and make them more human. In this case, it’s mostly Jason who gets the real winning treatment. Because Freddy is portrayed as a manipulative monster who is more than willing to torture any- and everyone, it falls on cold-blooded, murdering, mindless Jason to be the more “sympathetic” one. In some ways, it actually works.
Katharine Isabelle. All right, I mentioned her in the first Freddy vs. Jason essay I wrote for A Nightmare in Gautham. I think she’s beautiful.
The silliness is a cliché and wouldn’t it have been interesting if the filmmakers actually tried to make a genuinely scary movie? With the brute freight-train of Jason, and the psychological menace that is Freddy, the filmmakers could’ve really gone for the jugular with a movie in which no one is safe anywhere and in the end, the monsters fight for more than just survival (or the audience’s amusement). Just a thought.
Jason’s wardrobe doesn’t match anything he’s worn before. That said, I like this outfit better than all the rest. Freddy’s wardrobe has also changed in its details, and that bothers me.
Jason is afraid of water. I understand that the filmmakers wanted to do something that would mess him up, to give Freddy an advantage over him, but a fear of water? This same character who has, time and again, walked willingly into Crystal Lake? Who boarded a ship going to New York City? Really? But…yeah…he’s afraid of water in this.
Saturday the 14th
As I said in the other essay, Freddy vs. Jason is really Freddy’s movie. Jason has about as much screen time (and way more kills) but it’s really Jason in Freddy’s world. The last act of the movie takes place at Crystal Lake, but by then, Jason has terrorized Springwood and all the locales Nightmare on Elm Street fans know. While Jason is placed in a fairly sympathetic light, Freddy owns the movie. Maybe it’s because this was done by New Line Cinema but I think it boils down to the Nightmare on Elm Street movies show far more imagination than the Friday the 13th movies. In 10 movies, nearly every story involves Jason coming back and butchering people in various ways and in various locales. In seven movies, Freddy Krueger doesn’t kill as many people, but the deaths are far more memorable, as are the victims. By using the dreams and secrets of the teenagers Freddy haunts, he gives them a life that their waking interactions don’t in the weakest of the movies. With Jason, it’s just killing. This movie highlights those differences.
A sequel was proposed as New Line Cinema was looking into acquiring the Evil Dead franchise. Freddy vs. Jason vs. Ash would’ve had the stars of this movie square off against Ash, presumably played by Bruce Campbell. The deal with the Evil Dead people fell through and New Line decided that remakes would be the best thing to utilize these characters.
I’m not opposed to remakes in general, especially if really good filmmakers are behind it….
In 1991, New Line Cinema decided to kill Freddy Krueger with Freddy’s Dead: The Final Nightmare. Around this time, they acquired the rights to Jason Voorhees and Friday the 13th and wanted to bring the two monsters together. However, when they asked Wes Craven if he wanted to be involved, he said no, but said he had an idea for a possible seventh installment. New Line jumped at the chance to have Craven back to helm a Nightmare film. Friday the 13th co-creator Sean S. Cunningham thought it would be a good idea to do with Jason what had been done with Freddy and officially kill him off, while also hinting at the long-desired team-up movie. New Line agreed and 1993 saw the release of Jason Goes to Hell: The Final Friday. You know this because I wrote about it in the last essay.
Jason Goes to Hell did all right at the box office but not as well as they’d hoped. New Line was eager to see what Wes Craven’s return to the dreamscape would do to revitalize interest in Freddy Krueger. Unfortunately, when Wes Craven’s New Nightmare was released in October 1994, it failed to live up to expectations. Interest in making the long-awaited team-up were put on the back-burner. At least until a different Wes Craven film, Scream, was a huge hit. Suddenly, New Line wanted a Freddy vs. Jason movie and even promised one for 1998. There was a major problem with that promise: They didn’t have a script.
Time passed and script after script was written, director after director was attached, and it kept falling apart. It seems that every year between 1994 and 2003, Robert Englund would tell an interviewer that they had a new script and there should be a movie within the following year. And each year would pass and nothing would happen.
Sean S. Cunningham didn’t like this. He was afraid that people would forget about Jason Voorhees. So he went to New Line head Michael De Luca and asked about a tenth Jason movie. Writer Todd Farmer pitched the idea that Jason goes to space and De Luca, he who co-penned the cinematic masterpiece Freddy’s Dead: The Final Nightmare, greenlit it.
Jason. In. Space.
Though the film was supposed to be released in 2000 or 2001, it was eventually released in April 2002. I didn’t see it then. Seeing now for this essay was one too many times.
David Cronenberg appears in cameo role. Until Jason (once again, Kane Hodder) kills him. It’s always a surprise to see a director that is considered very good make a cameo in a less-than-stellar movie, and here it’s downright shocking. To think that the man who directed one of the best horror films of the 1980s, The Fly, would appear in this horror (I use the term loosely) movie is shocking. But it’s fun for the What the FUCK?! factor.
The escape ship explosion was another nice touch. The set-up is typical horror movie stuff. A girl who is freaking out locks her friends out of their safehaven, in this case, the spaceship that will allow them to escape. Despite them banging on the door (or whathaveyou), she decides to leave the main spaceship without them. Typically, this is where Jason would suddenly appear to kill her. In this case, her own stupidity does her in and it actually surprised me. So did the spaceship’s crash into another safehaven, a space station, earlier in the movie.
The special effects are surprisingly good. I’ll give them credit. For a movie with a fairly small budget, the effects mostly came off.
Jason looks funny in this movie. His head isn’t malformed enough and he had a strange buzz-cut thing going on. His hockey mask is different. His clothes are different. And that’s before the Uber-Jason at the end. Uber-Jason is one of the worst monsters I’ve ever seen. The costume looks like something from a bad SyFy Channel movie. I understand that Jason has looked different in each movie, and there’s certainly a Who Gives a Shit? attitude about that, but this Jason just didn’t do it for me. I think there was too much of Kane Hodder present.
The acting is some of the worst in the series. But I can only blame them so much, because–
The story is ridiculous and full of clichés. I’ve read or heard somewhere that the movie was better before the studio watered down the script. Who knows? The very idea of putting Jason in space is stupid. At best it can only be a low-rent version of Alien. Add to that the most obvious one-liners and scripted dialogue, and we’re talking a disaster of a movie.
The Saturday After
Look, these have been some of the most negative essays I’ve written, and I know fans of the series are used to that sort of thing from non-fans. I almost feel bad about these essays, but I have to call it like I see it. Whether they made money or not, these movies just keep getting worse. The box office for Jason X was also lackluster.
But that was okay, because in 2002, news broke that horror nerds had been hearing for a looonnng time. And this time, it looked like it might actually happen….
With the lackluster performance of Friday the 13th Part VIII: Jason Takes Manhattan in 1989, and with the urging of series co-creator Sean S. Cunningham, Paramount Pictures sold the franchise to New Line Cinema, whom they’d attempted to “rent” the Freddy Krueger character and situations from a few years prior. This would prove a major coup for New Line because now they could finally set up the Battle of the Ages: Freddy Krueger versus Jason Voorhees. The sale in the early 1990s came at just the right time because 1989 wasn’t a good year for Freddy, either. A Nightmare on Elm Street 5: The Dream Child, released a year after the highest-grossing Nightmare, earned the lowest amount for the franchise at that time. Hoping to cash in one last time, New Line released the final Nightmare movie, Freddy’s Dead: The Final Nightmare, in 1991, and it made a good amount of money. The purchase of the Jason Voorhees character and Friday the 13th meant they now had the two most popular monsters of the 1980s and could finally put them together.
Robert Shaye knew Sean S. Cunningham would be on board since he’d been trying to get the Jason/Freddy project off the ground for years, but decided to ask Wes Craven if he had any ideas. As it turned out, Craven did have ideas…only not for a monster mash-up. Excited by any Craven involvement in a new Nightmare film, New Line Cinema went ahead with his idea for a seventh movie. This gave Cunningham and the studio the chance to do what the eighth Friday the 13th movie couldn’t do: Put an “end” to Jason and set up the eventual Freddy/Jason movie.
With a screenplay by Dean Lorey and Jay Huguley, from a story by Huguley and director Adam Marcus, Jason Goes to Hell: The Final Friday was released on August 13th, 1993. I remember watching it when it came on Cinemax about a year later, when I was either a junior or senior in high school. I was interested in watching it in and of itself but the real reason I wanted to see it was because, by that point, Fangoria had reported the surprise ending….
The acting is slightly better in this movie than in the previous Friday movies. The script gives the actors a little more to work with. That said, the stand-out performance for me was Erin Gray’s. Now, it could just be the nerdboy in me talking, except that I never saw her in Buck Rogers (because I never saw the show, not because I couldn’t see her, that’s weird of you to think), I only knew her from Silver Spoons. But she brings real pathos to her role. John D. LeMay as Steve Freeman is also pretty good. He also starred in Friday the 13th: The Television Series, only he played a different character.
I know I write this often in these essays, but I feel like I’m often grasping at straws, so my apologies for repeating myself, but the fact that the screenwriters tried to move into a totally different direction with Jason (Kane Hodder) and the series needs to be applauded. They truly leave the idea of Jason terrorizing teenagers/young adults behind and take the movie into a new direction. Jason is now a known enemy to the United States and a task force has been employed to destroy him. Playing with horror as a genre, they reference the Evil Dead films and give a reason for Jason’s supernatural ability, as well as a way to destroy him. They also give him a larger family that changes the way he can be viewed.
If you’re into these movies for the gore, then you’re in luck. Whatever shenanigans that kept gore out of the eighth movie seems to have gone away for this one. It’s ridiculously gory. So if you’re into that, that would be a plus.
Freddy! Yeah, you must’ve known I was going there. At the end Jason is dragged into hell by monsters. There’s a close-up of his hockey mask. He’s dead. And then Freddy’s gloved arm shoots up, grabs the mask, and drags it into hell, with Freddy’s signature laugh. Of course, the arm looks strangely muscular (Kane Hodder provided the arm) and the blades of the glove bend when they hit the dirt, but it’s Freddy.
While the overall acting is slightly better in this movie, there are still some horrible performances. For me, the most surprising of these bad performances was given by Steven Williams as he played bounty hunter Creighton Duke. Williams has had a long, good career. I first knew him as the boss on Fox’s hit 21 Jump Street, which starred A Nightmare on Elm Street alum Johnny Depp. Williams was also a nerd favorite on The X Files as Mr. X. He’s a pretty good actor who is terrible in this movie. Maybe it’s not the right role for him. I don’t know, but it’s bad.
The story is real bad. That’s the problem with the Friday the 13th movies (or the Jason movies, as I guess they should be called for the next few essays), even if it’s the best written one, chances are likely that the movie is still shitty. Jason Goes to Hell: The Final Friday is no exception. It begins with Jason stalking a young woman who turns out to be part of that federal task force I mentioned earlier and ends with him being dragged to hell by some of the silliest monsters I’ve ever seen (though less silly than the Dream Demons from Freddy’s Dead: The Final Nightmare, I’ll give Jason the point for that). And then a young family walks into the sunrise. What? Yeah, you read that correctly. There’s a baby in this movie, and family issues, and a love story, and stereotypical foul-mouthed fat ladies, and more plot holes than I have time to list. And, the biggest problem by far is–
Where’s Jason?! New Line Cinema acquires their biggest horror competitor. They want to do a Freddy vs. Jason movie. They’ve already killed off Freddy (and it won’t be an issue that he returns for Wes Craven’s new Nightmare movie, which will be released the following year). And here we go with killing off Jason and…we’re going to keep Jason out of most of the movie.
Jason appears at the beginning, as I mentioned, until the U.S. government blows him up. Then his remains spout some creature that then goes around possessing people. We’re told by the bounty hunter that Jason the person has long been dead, but the evil entity in him takes his evil essence and finds new hosts for him. The idea is that Jason has been different people all the time. Forget the fact that almost every Friday the 13th movie showed him return from the prior movie’s resting place. The only other time we see Jason until the very end when he finally returns (plot hole alert), is in the mirror whenever his hosts stand in front of one. Instead of seeing Jason kill, which is all his fans pay to see anyway, we’re given a variety of characters committing Jason-style violent deaths.
Which only highlights what I’ve been saying throughout these movies: the true reason for the horror of a horror movie isn’t even being attempted, not even for laughs. The movies have devolved into a slaughterfest meant to do nothing but make powerless adolescents laugh at gruesome, horrible deaths. The fact that this is the ninth movie of this is a horrific happening unto itself.
Oh, and let’s talk about Jason himself in this movie. He looks stupid. His head has somehow inflated to twice the normal size, he’s regrown hair, and he’s not even close to wearing what he wore in the last few movies. If this is because he’s in a new body, how did the head come to look like a watermelon-sized meatball? He’s lame.
The Saturday After
Jason Goes to Hell: The Final Friday is a new day for Jason. New Line was able to make it more supernatural than the character (and story) had been but ultimately failed to do anything interesting with the movie. It’s essentially a 90-minute prologue to Freddy vs. Jason, which they hoped to make after the new Wes Craven Nightmare was released. As a teenager, I thought the movie was okay. As an adult, I’m shocked by how bad it is compared to my memory of it.
The movie did okay and it certainly promised fans what they’d been hoping for for nearly a decade. With all the pieces in place, what could possibly go wrong?
Though the box office for Friday the 13th Part VII: The New Blood wasn’t as high as some of the previous installments, it was still in the ballpark enough for Paramount to greenlight an eighth movie. This time around, longtime producer of the franchise Frank Mancuso, Jr., was out. Taking on writing and directing duties was Rob Hedden.
According to Hedden, he was one of the people who pitched for a Jason vs. Freddy Krueger crossover and was also a writer for the Mancuso, Jr.-produced Friday the 13th: The Television Series that ran on syndication at this point. The chance to write and direct the next film was something he couldn’t pass up.
Once again, Paramount gave permission to the writer/director to create a story in any way he wanted so he pitched taking Jason Voorhees out of Crystal Lake and bringing him to New York City. Paramount loved the idea and pre-production begun. However, even before production began, problems arose, mostly regarding budget.
This was, I believe, the second Friday the 13th movie I saw, again it was on Cinemax. My best guess was 1990 or 1991. I remember the teacher (Barbara Bingham) giving the star, Rennie (Jansen Daggett), a pen that she said she believed Stephen King used when he was a student. I also remember the boxer (V.C. Dupree) that Jason (once again, Kane Hodder) decapitates with a single punch to the head. There were other things I remembered faintly, too, that came back upon rewatching this movie.
Jansen Daggett as Rennie is attractive and likeable, though she’s not the best actress. She is also very 1980s. This is fun.
The attempt by Hedden to take the franchise to a new place, both metaphorically and literally, is to be applauded. He didn’t want to do yet another Jason-stalks-kids-in-the-woods movie. Taking Jason to New York is thrilling in many ways. First, just the What The Fuck? Factor of seeing Jason in Times Square is fun. And this is 1989 Times Square, so it’s not yet the full neon, crazed, carnival it is today. It still has a little of the old Times Square danger to it. Seeing Jason in back alleys and the like is also fun.
There’s a billboard in Times Square for 1989′s Batman, starring Jack Nicholson and Michael Keaton. That’s fun to see. Now digital effects would have replaced the ad for the Warner Bros. film for a billboard for a Paramount movie, or maybe even something else entirely. Yeah, this has nothing to do with the story, I’m grasping at straws here.
All right, in the last essay I wrote that I wasn’t a fan of Jason’s makeup. Well, this movie’s is even worse. First off, it’s a step backward. Where Jason looked too withered and falling apart in The New Blood, in Jason Takes Manhattan, even though he’s been under water for however long between movies, his shirt has somehow come back together and some of his flesh seems to have regrown. Oh, and it’s changed color, too. And when they take the mask off, it’s the worst makeup of the series. Jason looks like a poorly drawn smiley face. And the mask, which had black fabric covering up the left eyehole through most of the series suddenly has both eyeholes covered, so no eyes remain. I always felt that seeing Jason’s eye(s) somehow made him scarier.
The acting is typically bad. The story has a bunch of teenagers going on a cruise from Crystal Lake to New York City for some school thing in biology class and there’s a hell of a lot more kids than it seems we ever get to know. And the ones we do get to know are the normal stereotypes that we never get the chance to care about. Even Jansen Daggett’s Rennie is little more than the typical quiet girl who will survive this horror movie through her cunning and innocence.
And while I applaud Hedder for attempting to take Friday the 13th in a new direction (how often have I written that or something like that in these essays?) it fails. Part of it isn’t his fault. Some of it was the budget. Some of it was, no doubt, the MPAA.
At $5 million, the budget for this movie was higher than any of the previous installments, but it still wasn’t enough. Apparently, the original script had most of the movie set in New York City, but Hedder was told that it was too expensive to shoot there. And even with shooting some of New York’s settings in Vancouver, time in the city (and on location) kept getting shorter and shorter. In the end, he had two days in actual New York and only the last third of the movie was set there.
The MPAA surely hurt the movie. By this point in the 1980s, Tipper Gore and other watchdog types were actively going after horror movies and heavy metal and anything that could seem too much for children. This is because R-rated adult entertainment is something that children regularly see. Well…maybe…but I digress. This movie is actually pretty tame compared to the previous movies (and those that follow). Most of the deaths happen offscreen. Jason comes into frame, lifts his arm, brings it down, and then we see the body at some point. There are exceptions to this, I already mentioned the fate of the young boxer on a rooftop. Compared to the crazy gore and gratuitous violence of, say A New Beginning, Jason Takes Manhattan is pretty tame. People don’t watch Friday the 13th movies for tame, though. They watch for over-the-top violence and gore.
Even with the constrictions brought on by budget and censorship, Hedder must take most of responsibility in the failure of this movie. From beginning to end, very little fits logically with the story within the franchise or even within the movie itself. Rennie sees the little boy of Jason throughout the movie, and he only slowly grows to look like how he did in the original. The way Jason is brought back to life is also odd. He’s electrified again, which isn’t so odd, by a giant electrical cable that runs under Crystal Lake, which gets frayed by a yacht. How does a yacht fit on this lake? Is it one of the Great Lakes? Or perhaps a great lake in its own right? Anyway, this cable–which is out in the open under the water–is frayed by the yacht’s anchor (which is light enough to be carried by the lake’s current but strong enough to break this huge cable) and the electricity goes up the cable to where Jason is under the broken dock from the last movie. It brings Jason back but not the girl’s father from the previous movie. His body isn’t even there. So not only do Jason’s clothes somehow repair themselves (as does his skin) but the father also disappears magically. At the end, Jason is essentially turned into the little boy, which is also weird and doesn’t make sense. His choices in direction aren’t always the greatest (the POV of the boxer’s severed head is stupid, because the boxer can’t see because he’s dead).
And let’s not forget how Jason suddenly appears in places. There have been jokes as long as these movies have been out how the killer will walk after his victims and always seem to get them. For Jason, the walking after victims really began in the fourth movie. In this movie, though, Jason begins to appear whenever needed. One example is on the cruise ship to New York. Jason is stalking a victim and the victim turns away, runs up some steps, only to be confronted by Jason, who somehow managed to get from the deck to the stairs without passing his victim. Now I can only assume that this was done because of Freddy Krueger. Freddy is known to do this trick throughout his film series, and this makes sense because he’s in a dream. Jason may now be supernatural, but he’s still in the real world and should adhere to at least some of the physics that we all live with. Yikes.
Saturday the 14th
What might have been a fun jaunt to the city with a popular monster is a lame movie. The attempts at humor fail. There’s nothing particularly creepy or scary in the movie. And the one thing that the Friday the 13th movies always did well–gory death scenes–are trimmed to the point of nearly being safe for network TV (of the time, anyway).
Friday the 13th Part VIII: Jason Takes Manhattan no doubt caused more eyerolls than anticipation when the trailers first hit theaters. The film did the least business than any of the other movies in the franchise, earning a measly $14.3 million dollars. Its release date didn’t help any. Released on July 28th, 1989, it was smack-dab in the middle of one of the biggest summers the movies had seen. Batman, Indiana Jones and the Last Crusade, Lethal Weapon 2, and Ghostbusters II were all released that summer. Even the better-faring Freddy Krueger movie A Nightmare on Elm Street 5: The Dream Child (released in August) failed to do the business its predecessor of the prior year did; $22 million compared to $49 million.
Between the poor audience reception, the fact that it was the eighth movie, and the fact that the horror bubble was beginning to collapse all around, Paramount decided that Jason’s trip to New York would be his last resurrection for awhile.
With the Friday the 13th movies still making money but straining a very thin premise, Paramount and producer Frank Mancuso, Jr. were looking for something new to do with the franchise. Sean S. Cunningham was also interested in possibly doing something new with the franchise, especially now that there was a new kid on the block. The block happened to be on Elm Street in a sleepy town called Springwood.
In 1984, the fledgling New Line Cinema released a film by Cunningham’s protégé Wes Craven called A Nightmare on Elm Street. The movie was scary and had become a sleeper hit. The villain of the film, Fred Krueger, portrayed by the classically trained Robert Englund, sliced his way to the top of people’s Favorite Villains list with a concept unlike any that had been done before. New Line went ahead with a sequel even though Craven refused and 1985 saw A Nightmare on Elm Street 2: Freddy’s Revenge. While the critical and fan response to the second movie was much less favorable than its predecessor, the movie earned more than the first movie, securing another sequel. In 1986, filming was underway on A Nightmare on Elm Street 3: Dream Warriors. With the return of Wes Craven, along with his writing partner Bruce Wagner, on the story and script (along with Frank Darabont and director Chuck Russell), anticipation was high. Freddy Krueger was already being mentioned alongside Jason Voorhees as one of the best monsters of 1980s horror.
Cunningham saw this as an opportunity to revitalize the series he co-created and pitched the idea of putting the two maniacs together in the style of the old horror movies. So began talks between Paramount Pictures and New Line Cinema. Paramount wanted to “rent” the rights to Freddy Krueger, Elm Street, and the rest. Being an old movie studio, it was in a position of power. Except that New Line’s new horror villain was the “It” Monster at that moment. Freddy had a sense of humor, ran around, and got people in their dreams while Jason just shambled about. So New Line proposed “renting” Jason, et al. Neither party would budge and the deal fell through. Still, the movie was pretty close to happening.
So with the Jason and Freddy match-up off, Paramount and Mancuso, Jr., went ahead with plans for a seventh Friday the 13th. Still, the idea that Jason had a formidable opponent was forefront in their mind, so writers Manuel Fidello and Daryl Haney gave Jason a psychic/telekinetic teenage girl to fight. It reminds me of that famous quote from Ferris Bueller’s Day Off: “I asked for a car, I got a computer.” Paramount asked for Jason vs. Freddy, they got Jason vs. Carrie.
This was the first Friday the 13th I believe I saw since it came on HBO/Cinemax the year after its release and by that point I was officially into horror. I liked it well enough at the age of 12, I guess. It was interesting, at least, the girl using her mind to move things. Since this was before I began reading Stephen King and hadn’t seen the movie Carrie, I didn’t have that as a frame of reference. That probably helped me somewhat like the movie back then.
Jason (Kane Hodder) looks like a monster, which is cool. Between the third movie and the sixth, he could just as well have been Michael Myers of Halloween–a dude with a mask killing late-teenagers/young adults. Somewhere he even got a jumpsuit like Myers. With this movie, director John Carl Buechler decided to really have Jason look like he’s been through the wringer. While the previous movie zombified him, this movie went all out. He’d been in a lake for years and now looked it with his clothes in tatters and bones visible. It also made Jason different from the other famous monsters of the 1980s.
The attempt at something different should also be given a nod. It would have been real easy to just have the kids be at a camp all over again and Jason inexplicably come back to life and kill them one by one. This time, there’s a telekinetic teenage girl named Tina (Lar Park Lincoln). There was a hint of spousal abuse that could be brought up and a doctor (Terry Kiser) who seemed to be taking advantage of his patient for personal gain. Tina’s powers are a little silly at times (try not laughing when a TV flies through the air when she’s upset at the doctor and her mother) but the fights with Jason are almost interesting and somewhat entertaining.
Terry Kiser is good in this movie. His is a face you would recognize as he was in so much in the 1980s. I mean, he was Bernie in the Weekend at Bernie’s movies! He has a quality about him that’s just kind of slimy and he pulls off the Doctor-Up-To-No-Good thing so well.
The acting has gone back to being uninteresting at best. Some of it is horrible. Most of it is forgettable. Lar Park Lincoln does her best with the material but it just falls flat. I almost wonder if a better director, or better script, would have helped her. The rest of the cast fits into stereotypes, one way or another.
Though the look of Jason now distinguishes him fully from Michael Myers, I was distracted by the make-up effects for him. You can see his teeth and jaw exposed on the left side of his face and his ribs and spine on his back. Yet, they never feel like they’re in him, but rather on top of him, which they are. It was a valiant effort that ultimately fails and actually distracted me.
The beginning and ending are lame. The movie starts with young Tina running out of a house on Crystal Lake (where we see Jason floating beneath the surface, looking like he did in the previous movie). Young Tina climbs into a boat and rows away from the dock. We’ve heard the sound of her parents fighting and her father hitting her mother. Then Daddy comes out and chases Tina, saying he’s sorry and that he’ll never hit Mom again and all that shit. In a moment of anger, Tina uses the Force to destroy the dock, which means Daddy falls into Crystal Lake, to his doom. When she comes back for “therapy” years later, Tina goes to the dock and senses a presence underwater (I think…this is never really clear). Then she uses her telekinesis to bring Jason back, thinking it’s her father.
At the end, the way Jason is finally “killed” is lame because Tina, once again on the dock, her new boyfriend with her, is being attacked by Jason (who we thought was blown up with the house). Tina uses the Force again to feel a presence under the lake and WHAMMO! Daddy comes out of the water, through the dock, and brings Jason down with him. Unlike Jason, though, who decayed underwater for almost a decade, Daddy is a little dirty but is otherwise the same guy we saw in the prologue.
And while we’re talking about Daddy here, let’s talk about how fucked up this movie is when it comes to women. Now, I know that the Friday the 13th movies tend to objectify women, but there are some strongish women in most of the movies. Or at least I think they’re supposed to be strong, because it’s almost always a woman who defeats Jason, or helps defeat him. But bear with me here. So in the prologue, we hear the mother get slapped by the father, who, moments later, tells his little girl that he won’t do it again, even though it seems he’s made this promise before. So she kills him. Now, she comes back in her therapy (which is really just the doctor using her powers to make a name for himself) to the location where Daddy met his fate. She is distraught at the memory that she killed him. Her mother tries to assuage her grief. There’s a photo of Dad on the wall in the house. She killed her Dad, she killed her Dad…waaaah! And then she uses the same powers she used to bring Jason back to bring him back to save her. Has she forgotten the reason she killed him? Has she forgotten that he beat her mother? I know that a child may feel guilt at this, and that guilt might carry over the years, but how can Mom be so understanding? Or am I just reading too much into this subplot?
While the filmmakers attempted something different, they fail. By now, it’s beginning to feel like gimmicks are being thrown together. Not that the whole series is anything more than gimmicks. Jason in 3D! Jason dies! A new killer! Jason lives! Jason fights…um…er…you said we can’t use Freddy?….um…Jason fights…[sees Stephen King's Carrie on the bookcase]…a telekinetic girl! Here’s the thing with the Friday the 13th movies and the character of Jason Voorhees as he’d been presented up to and including this point: You can’t do much with him. He is a zombie who doesn’t eat his victims, who has superhuman strength, and always manages to find a machete. He’s just a machine that kills. So you could have him fight a telekinetic girl, Freddy Krueger, or the Harlem Globetrotters but the fact remains that he’s just going to shamble around killing people.
Saturday the 14th
I realized while writing that last paragraph that it was becoming the wrap-up, so I’ll wrap it up. By the seventh movie in this franchise, Jason Voorhees is a bore. The sixth movie proved to be the exception that proves the rule. Friday the 13th Part VII: The New Blood was made for $2.8 million and earned $19.2 million after its May, 1988 release. Compare that to A Nightmare on Elm Street IV: The Dream Master, which was released that August and cost $13 million (about $10 million more than the former) but made $49.3 million, more than any of the original Friday the 13th movies had ever made.
The only thing the filmmakers could do to keep him interesting was throw in different gimmicks. What would be next? Freddy was too successful on his own. Fight Michael Myers, whose own franchise had been rejuvenated based on the successes of Jason and Freddy? Have Jason fight Superman, whose movie career was over for a bit? Or maybe a change of scenery would be it. Something silly, like sending Jason to New York.
Yeah, right. Who would buy that?
After the mess that was Part V: A New Beginning, it’s a surprise that Paramount would’ve okayed a sixth film, except for one thing. Well, make that 22 million things. With a budget of just $2.2 million, the fifth movie earned back ten times the cost. The movie may have been a financial hit but it still met with a lukewarm reception at best. Critics, naturally, hated it. This was nothing new. However, the fans didn’t like it either, and that was a problem. With this in mind, Paramount and producer Frank Mancuso, Jr. decided to abandon the set-up at the end of the fifth movie, where it looked as though Tommy Jarvis would become the next killer of the series (which is what the fourth movie did, as well). As such, the decision was made to bring Jason back. They hired Tom McLoughlin to write and direct the movie.
Unlike my experiences with the A Nightmare on Elm Street movies, I don’t have clear memories of the first time I saw most of these movies. I’m pretty sure I was between 12 and 15 and they were all showing on Cinemax. They never captured my interest as much as the Nightmares did, so watching these now is like watching them for the first time, only with odd flashbacks. So I can honestly say that Jason Lives surprised me.
I’m surprised, but happy, to say that the acting is pretty good. Now don’t get me wrong, no one was going to win any Oscars from this movie, but the actors were definitely better in this installment than in the previous few. Thom Mathews as the new Tommy Jarvis is pretty good. He’s much more charismatic than John Shepherd was in the role in the previous movie. Jennifer Crooke as Meghan is also pretty good, although straining at times. David Kagen as Sheriff Mike Garris also does a great job. And this movie features Future Serious Actor Tony Goldwyn, just four years before his memorable appearance with Patrick Swayze, Whoopi Goldberg, and Demi Moore Ghost (he can now be seen as the President of the United States in the TV series Scandal). This movie may have the best cast since the first movie.
The humor is a welcome change from what’s come before. This movie is actually funny in spots. Not that the Friday the 13th movies ever shied away from humor, but it was usually camp that was employed. McLoughlin’s script is actually pretty funny. This isn’t a comedy, not in the true sense of the word, but it’s got elements that would later be employed (more successfully) by Wes Craven’s Kevin Williamson’s-scripted Scream films.
There’s actual tension in this movie. Not much of it, but it’s there. Jason (C.J. Graham) has stopped running yet still manages to be unsettling. There’s a scene when someone catches him killing another person. He stops and looks at the voyeur. The shot is done so that we’ve become the voyeur so Jason has caught us. It’s a little thing, but it helps. So when Jason turns and begins walking quickly toward us, the reaction is purely, Oh, shit! Run! There are other scenes where this horror movie comes close to living up to the genre’s name, which is a welcome relief from the previous movies.
There’s an actual, true supernatural element to the movie. Prior to this, Jason gets his ass handed to him over and over again but is supposed to be some sort of man with a lot of strength. This movie opens up with Tommy Jarvis and a friend from the mental hospital (played by none other than Horshack himself, the late Ron Palillo) going to find Jason’s grave (skipping over the previous movie’s assertion that Jason was cremated) because Tommy doesn’t believe Jason’s really dead. They dig him up and upon seeing Jason’s decaying, worm- and maggot-ridden corpse, Tommy freaks out and grabs a piece of the wrought iron fence–which looks like a spear–and begins pounding it into Jason, screaming. Finally, back to his senses, he climbs out of the grave to get the gasoline to finally, truly cremate him. Lightning strikes the spear and brings Jason back to life. Jason is essentially a zombie from here on. It opens up a whole world of possible fun and actually gives the previous movies some help. Now Jason really did die as a child, but came back after his mother was killed. And that’s why no one is ever able to kill him, except Tommy in the fourth movie.
There’s thought that actually goes into this movie. If Tommy wasn’t obsessed with the idea of Jason not being dead, he wouldn’t have brought him back to life (even accidentally). I like that Tommy is the one who “killed” Jason before accidentally bringing him back. Also, the common thing is to have the main heroine of the movie be the sweet, innocent one. Not so in this movie. Meghan is the wild child who would normally be killed fairly early on in this kind of movie. The girl who is most like the typical heroine in these movies is the last of the camp counselors to die. There’s surprisingly very little in terms of plot holes in this particular story (though in the overall scheme of the franchise, there are plenty).
The ending is a little weak. Tommy puts Jason underwater with a chain around a rock and Meghan goes at him with the motor of a motorboat and he dies. Or does he? When the camera goes in for an extreme close-up of Jason’s eye, it’s no real surprise.
The sheriff’s deputy is played badly. He’s the typical horror movie cop and the rest of the material is beneath this.
Saturday the 14th
This movie surprised me. I liked it. More than I should’ve, probably. McLoughlin understands the material and does his best to make it fresh and it works. I don’t know if I saw the whole thing as a kid (I remember the opening in the graveyard from back then) but if I did, I certainly didn’t get the humor. Or maybe I thought it was lame. I don’t know, but I found myself quite entertained by Jason Lives. I daresay, it may be my favorite of the series. At least so far.
The movie made less than the previous movie at around $19.5 million, but still earned back a lot (its budget was $3 million). By now, though, Jason wasn’t the only monster on the block. Freddy Krueger slay his way through two movies with a third on the way in early 1987. And around schoolyards and school hallways, the inevitable question arose: Who would win in a fight…?