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…?
I know that at some point in my early teens I saw some of this movie, just as I saw some of the others. As I watched it more recently, though, I was surprised by just how little of it I remembered….
The movie begins with Corey Feldman returning as Tommy Jarvis. He witnesses two young men digging up a makeshift grave for Jason Voorhees. Jason comes alive and murders them both. Then he comes after Tommy, raises his machete, and Tommy (John Shepherd) awakes, a young man, in the back of a van. He is being brought to a halfway house after his release from a mental institution. He has had a hard time coping with killing Jason (as well, I assume, as the grisly murders that took place around and at his home). Of course, violent murders begin happening shortly after Tommy arrives leading to a final showdown with none other than Jason…or is it?
Claiming the fourth movie as The Final Chapter no doubt brought people into theaters, which no doubt decided the Paramount brass, as well as producer Frank Mancuso, Jr., to immediately resuscitate the franchise. So A New Beginning was devised and the world became a darker place for it.
Corey Feldman returns as Tommy Jarvis. Seeing him and the level at which he works is a great thing. It’s a shame that it all went downhill for him after Stand By Me, but here he kicks ass–again–as Tommy Jarvis. In the five minutes or so he is onscreen, mostly in close-ups, he brings emotion and pathos to the film.
While I’m mentioning Feldman, I’ll mention Shavar Ross, who plays Reggie. If you grew up in the early-1980s, then you’d recognize Ross from Diff’rent Strokes, where he played Arnold’s (Gary Coleman) best friend Dudley. Here, he gives the second best performance of the movie. I think the reason both he and Feldman are so good in these movies is that they are kids. They’re not adult actors who are aware of the kind of movie they’re making. They’re child actors who are probably thrilled to be in a Friday the 13th movie, or any movie. It’s one more step to a long, fruitful career for them. Ross isn’t as good as Feldman was in the prior movie, or in his five minutes in this one, but he’s the best thing in the rest of the movie despite the poor writing he’d given.
The nudity is the most in this series thus far. Now, I know it was a little funny the first time I mentioned this. And maybe still funny, a little, the second time. Now I look like a pervert. Well, allow me to defend myself: As I mentioned, the teenagers and young adults who paid for Friday the 13th flicks in the 1980s wanted only violence and sex. Let me go back and edit that. The teenagers and young adults who paid for many low-budget horror flicks in the 1980s wanted only violence and sex. Unless the horror flick was truly scary (A Nightmare on Elm Street, Hellraiser) the only thing going for these kinds of movies were violent and sexual perversion. So, by that standard, this movie succeeds. The nudity is upped. There are lots of breasts in this movie. Not as many as some, perhaps, but better than others in this series.
The violence has been upped. Again, if you’re paying for this–and teenagers were–then the depravities onscreen are upped.
The writers try to go in a “new” direction. There’s a little more psychological suspense (a term I loathe) in this movie. When older Tommy Jarvis arrives on the scene, he sometimes sees Jason (Tom Morga). It’s apparent that it’s not the ghost of Jason but his own PTSD that’s fucking with him. Unfortunately, writers Martin Kitrosser, David Cohen, and Danny Steinmann and director Steinmann don’t really get into it. They try to keep Jason dead.
The acting is all around bad, except for Feldman and Ross. Again, I think they’re bad because they’re not given anything to work with. By the fifth movie, the template hadn’t just been set, it had become part of the DNA of a certain moviegoing audience. A small set-up at the beginning where we meet the characters, all stereotypes, and then 60 to 70 minutes of those people being murdered in especially grisly fashion, with tits thrown in for good measure. So the actors are there just to flesh out the stereotype and then react to the killer. And the actor who plays older Tommy, John Shepherd, is awful. He’s a goddamn zombie!
If I’m going to be base, then I have to say that the killings are lame. Because the writers decided to try something kinda-sorta new, we never see the killer until the very end, when it appears to be Jason. This means that, like the first movie, the filmmakers have to be clever and not show the killer doing the killings. While this worked for the first movie, it hinders this one. Maybe that’s because it comes after three where Jason Voorhees was seen in all his cardboard glory, I don’t know. But it falls flat.
The writing is horrible. Yeah, Mssrs. Kitrosser, Cohen, and Steinmann get a little kudos for trying to go in a new direction, but the rest of the movie just sucks. And if you’re going to try a new direction, try a new goddamn direction. Don’t do the same fucking thing but with someone else, unless it’s in a new place, under new circumstances, and breaks away from everything that’s come before. And if you want the Tommy Jarvis connection (and what about his sister?), why not bring him to a hospital in the city where he starts having hallucinations? I don’t know. Like Friday the 13th in New York? (See what I did there?). But they don’t. It’s in the woods, assumingly in Jersey, near Crystal Lake. It’s a halfway house this time, that way we can give the kids in the movie a reason for acting differently, and maybe get some built-in pathos straight away. The lines the actors are given are bad. The story is nearly nonexistent, and there’s no real structure. The “heroine” in this movie, Pam (Melanie Kinnaman) is boring. She looks like Amy Steel from Part II but isn’t given anything interesting to do. And considering she’s one of the people in charge, she makes some horrible choices. The Black characters are given bad lines, the White actors each have their own stereotypes to deal with (the slow fat kid, the angry kid, the horny guy, the horny girl, the sweet girl, the new wave girl, the super-sensitive guy, the guy running the show) and none move beyond that. And let’s not forget the ending, which takes place in a barn. Just like the third movie. I wouldn’t be surprised if it was the same barn. And the twist ending(s) of Jason not being Jason but rather an ambulance driver we see for 10 seconds at the beginning of the movie, after the first (actually, third, if you count the opening nightmare) murder who is upset because his son, the fat kid, is murdered by the angry kid. The other twist is that Tommy may suddenly be a killer. At least that’s what’s hinted at. Both leave the viewer feeling cheated. The former because there’s really so little evidence that it’d be the ambulance driver that no one could guess it, and the latter because if you want Tommy to be a killer, have him be the killer!
The direction is horrible. Again, comparing this one to the first one makes the first one almost seem like Casablanca. Sean S. Cunningham will never win an Oscar for directing (or for anything else) but at least he did a semi-professional job. Danny Steinmann points the camera. Done.
Lastly, the violence. I know that I listed the increased amount of violence in The Day section, but that was in terms of what is wanted by the boneheaded 1980s teenager/young adult who pays for (or sneaks into) a Friday the 13th movie. In actuality, the violence is appalling. I counted 10 grisly murders in the first half hour, and 12 by the 40 minute mark. There were twenty grisly murders in this movie before the killer is killed and there’s still another one in Tommy’s epilogue nightmare. I just looked it up and, up until this point (I’m not spoiling the rest of the movies for myself) it’s almost double the average, already-too-high number of deaths in these movies.
Now, folks, I’m not a squeamish person. I think Jack Ketchum’s The Girl Next Door is a superb, heartwrenching novel and I liked the movie (much to the horrified chagrin of my lovely wife). I have watched the original I Spit On Your Grave several times (and have it on my Netflix instant streaming queue for another viewing). I’m not squeamish when it comes to film violence, but I want it to at least have a reason, and preferably an outcome that is more than just a body count. This is the kind of violence that gave the horror movies of the 1980s a bad name. Maybe as a teenager I would’ve thought it was cool, but I have definitely outgrown the target audience for these movies. It’s almost enough to make me abandon this series and move on to greener pastures.
Saturday the 14th
This movie is despicable. There is no redeeming value in it. According to Wikipedia, Cory Feldman was only available for the five minutes at the beginning of the movie because he was filming The Goonies. Good for him. This turkey is beneath him. Even though the fourth Friday the 13th lacked charm, at least there was some. This movie is a giant, steaming pile of shit. It’s only purpose that I can see is to remind us of how bad these movies could get.
The movie cost around $2.2 million. It made about $22 million. So you know what that meant….
With Friday the 13th‘s premiere in 1980, a sequel followed each year afterward for two years. Friday the 13th Part II came out in 1981 and Part 3 came out in 1982. The filmmakers, seeing how the film was repeating itself like a crazed hamster on its wheel, decided not to rush things for a fourth part. They also decided it was time to end things. This led to Friday the 13th: The Final Chapter, which was released in 1984 and took the franchise into new territory with careful plotting, intelligent directing, and acting that blew away every other horror film that year.
All right, the only true part in the above paragraph are the titles and the dates, I made up the rest. The truth is, I have no idea why it took two years to make this movie except that, maybe, Paramount was ready to end the franchise with the third movie but figured, “Hey, why not? These things keep making money for us.” However, they may have also had enough of the Jason Voorhees character and may have decided this would be his last outing.
The Final Chapter begins much like the prior two sequels. The first five minutes show what has happened before. Unlike the prior two movies, though, it doesn’t replay the final scene. Instead, it takes “The Legend of Jason” story from Part II and illustrates it with some of the “Best of” the gory scenes, leading us into the end of Part 3. This movie picks up almost immediately after. Jason (Ted White) is on the floor of the barn we left him, ax removed from the head, but only recently. He’s taken to the hospital and turns out to be alive(!) and, well, does what Jason does.
There’s a little bit a new twist in this movie. There’s a family, Mom, daughter, and little boy living in the woods in a log house. They have a dog. There’s a house next door (the only house next door) where the “kids” who will become the main victims will stay, but there’s at least a family unit at play here. Joan Freeman plays Mrs. Jarvis in a fairly realistic way. Considering she’s not given much to do, she does a pretty good job. Kimberly Beck plays Trish Jarvis fairly well. Certainly not the best acting I’ve ever seen, but better than most heroines in this series (though I still think Amy Steel is the best so far). Her little brother, Tommy, is played by Corey Feldman, who turns in a star-making performance. He’s a little boy in this and cute-as-a-button, and he steals the show. This family gives what little heart The Final Chapter has. And it is only a little.
The hunter, Rob Dier, played by Erich Anderson, is also a nice twist to the movie. He’s the brother of a girl killed in Part II and is looking for Jason under the guise of hunting bear. His performance isn’t bad, though fairly thin.
Crispin Glover. Do I need to say more? I will. He’s as bad as everyone else in this movie but the fact that he’s in this movie, a year away from his big role as George McFly, is funny. He also displays some cool dance moves.
The gore is upped once again. Tom Savini returns to the series and the gore factor is raised from the prior movie. And while I’m writing about base entertainment, the nudity has returned, too. Woo!
Will I continue to knock the writing and directing in each of these essays? Probably. It struck me as I sat through this movie that I bet that somewhere, someone can write a good Friday the 13th. At this point, four movies in, I’m not sure. Here’s an interesting idea: Instead of making another Kids In the Woods Get Killed movie, focus on the family unit. The recently divorced Jarvis and her children who happen to be staying in the woods meet young Rob Dier, who’s “hunting bear” but is really looking for his sister’s killer, whom he believes is haunting the woods around Crystal Lake. Have the story unfold as Jason comes back and stalks them, maybe because Dier pesters him. Something like that. Spend time with the characters so the audience cares about them. Yes, yes, it’s breaking the formula, but why not? Instead, there’s a ton of characters that are barely written (though are better written in this movie than the last) and a killer who is somehow able to get around everywhere easily and without much effort. He can get from a kitchen to an eave near a window to a room downstairs to a room upstairs to the house next door to a basement in moments, and somehow finds time to arrange his victims for horrific display at just the right time. Jason is an artist. His canvas is the human body. His medium is fear. But physics don’t apply to him for some reason.
Should I mention the acting? I just did. I’ll leave it there.
The blatant disregard for life is another theme in these movies. Not just by the killer but also by the filmmakers. They just don’t give a damn about the horror of the violence they portray. I know, it sounds hypocritical of me to say this yet praise the gore, but it’s true. It’s scary how popular these films were (and still are) despite this. I’m not saying I’m above watching this shit, I’m obviously not, but I feel like I should mention it somewhere.
Saturday the 14th
The second movie introduced Jason as the killer. The third movie introduced the hockey mask. This movie makes Jason almost superhuman. He keeps getting lethal blows and coming back. Yet, the writers and such are still saying Jason is a man, a crazy man, true, but a man.
Friday the 13th: The Final Chapter, according to Wikipedia, was a huge hit and spawned, of course, a fifth movie. I’ll also note that seven months later, the far superior A Nightmare on Elm Street was released. This would become very important for this franchise.
Like its predecessor, Friday the 13th Part 3 begins with the last five or so minutes of the previous movie. Unlike its predecessor, it reinvents the ending just a tad, which leads us to the third part of this ever-growing saga. Director Steve Miner returns to the franchise with his second–and final–effort. Being the third film in as many years, they had to pull out all the stops, so they made this movie in 3D! Makes sense, right? Part 3. Part 3D. Get it? Great, huh? And, because they wanted to really get the audience, they crafted the best script yet and hired the best actors the series had seen until this point.
All right, I’m lying. The extent of their efforts was in the 3D department. Oh! And the gore. This movie is gorier than its predecessors. Anyway, even though you can pretty much guess what I’m going to say by reading my last entry, let’s get into this.
I’ll give the filmmakers a little credit. They try a little to differentiate these movies. The first movie took place at Camp Crystal Lake. The second one happened at some other camp. This one takes place at a cabin/barn/house on the lake. The last two films featured blondes as the heroines, this one has a brunette. So at least it’s not happening at the same place…just the same lake. I’ll put this in the positive section, along with–
The gore. I know, this is base entertainment, at best, but like being happy with the nudity in the prior film, the gore in this one was upped. According to my sources (Wikipedia), most of the death scenes were edited down because they were too gory and the movie almost received an X-rating. Why the Blu-Ray I watched didn’t have it unedited is beyond me, but it didn’t.
The 3D shots. I had the option to watch the movie in 3D. I didn’t. Why? Because I thought it would be more fun watching the way things came at the screen for no real reason, and I was right. It’s silly and it’s fun. Handles to pitchforks, yo-yos, popcorn, prongs from pitchforks, and eyeballs all come toward the screen, along with other things. Whee! F-U-N!
The origin of the hockey mask is told here. According to my sources (again, Wikipedia) the hockey mask was used because it was around. They wanted to change Jason’s mask from a sack to a mask and 3D effect supervisor was a hockey fan who happened to have gear with him. The director loved it and they made masks for Jason. Little did they know that the hockey mask would become his iconic look.
Oh, and Jason (Richard Brooker) runs some more. That’s good. He’s almost scary.
This cast is the worst cast yet. There is so little distinction between the victims that it’s puzzling. There’s the girl who owns the house, the pregnant girl, her boyfriend–who walks on his hands, the hippie guy, his girlfriend, the fat kid with the Jewfro and a penchant for doing the exact wrong thing at the exact wrong time, the Latina girl, and the main girl’s boyfriend. There are other victims, too, including a three-person-biker gang: a tall, bald black guy, a black woman, and a white dude with a dagger earring and cigarette hanging from his maw. There might be more, I can’t remember. This movie killed too many brain cells. The extent of their characterizations is exactly what you just read. Nothing is followed up and no one really comes off the screen despite the 3D (see what I did there?). These people exist only to get killed. And unlike the second movie, which at least killed the original movie’s heroine within the first fifteen minutes, the second movie’s heroine is mentioned in a news report at the beginning of the movie as being transported to a local hospital. Which reminds me, there are two people who die in that scene–an inept shopkeeper and his shrieking-stereotyped wife. Ugh, the stereotypes.
The writers (I use the term loosely) provide a script that is not so much story as graphically violent scenes attached with minimal story. In true Friday the 13th fashion, things are left unexplained. We never know what happens to the camp in the second movie and the main heroine in this movie (played by Dana Kimmell) has survived a Jason attack two years earlier. He attacked her and she passed out, to wake up later in her bed, unharmed. Huh? Why? Who knows? In this world, loose ends abound and the filmmakers don’t care because they know their audience: kids out for a good time and a few laughs. There’s a hippie guy who seems to be too old to hang out with the others. Why? Because. Why doesn’t Jason replace his sack until he finds the hockey mask from Jewfro? Oh, who cares?
The nudity. Or, rather, the lack thereof. Maybe things were getting tough in 1982, but there’s so little nudity that it’s a step backward. Prudish Americans.
Jason. In Part II, Jason is almost scary. He’s dressed like a farmer with a sack on his head, but he runs and is kinda creepy. In this movie, he’s larger, he’s lost his hair, and he’s…well…less scary. Not that he was really scary in the second movie, but was almost scary. In this one, he still runs, he still feels pain, but he takes a much harder beating. The makeup is pretty terrible, too.
Saturday the 14th
By 1982, people knew what they were getting in a Friday the 13th movie: young people being picked off one by one by a killer with nearly supernatural strength. I imagine seeing it in the theater in 1982, with your friends, and wearing silly 3D glasses is the optimal way to watch this movie. Check brain at door and have fun. This third installment could’ve ended things and just let sleeping hockey-masked killers lie. But, of course, that wasn’t going to happen….
One of the things that’s great about sequels is that the premise has been set up so the action can begin at once. It’s one of the reasons why The Empire Strikes Back and The Dark Knight work so well. The characters are re-introduced in clever ways and we get right into the story. Friday the 13th Part II doesn’t even get that right. Released a year after its predecessor and featuring a new writer and director, the audience is given a recap of the previous movie in the first five minutes. It only gets moderately better from there.
I first saw the movie in my early-teens, I was probably around fourteen or fifteen when it showed up on Cinemax, and I was surprised by how different Jason Voorhees was to the monster I’d watched in later installments in the franchise, for this is the installment where Jason (Warrington Gillette) becomes the monster, which in itself is historic to horror geeks like me. Hell, Drew Barrymore died because she didn’t know this! Because you know the story, I’ll get right into my ten cents of opinions.
Amy Steel as Ginny. She’s likeable, pretty, and somewhat realistic. She’s got a strength about her that radiates from the screen. A few of the other campers are also not too badly drawn, and I’d mention their names except that I never learned them. And we’ll get to that later. But Steel is pretty good even though I wish she were onscreen even more.
The nudity. Let’s face it, there are two reasons to watch a Friday the 13th movie: sex and violence. The first movie was much tamer on both counts than what I remembered. This one ups the nudity. I know, it’s very base of me to say such a thing but let’s not beat around the bush (no pun intended), these movies are base and when I watch them, I want to see me some boobies. This movie delivers…at least a little bit.
Jason’s introduction is also not bad. As a matter of fact, he’s almost scary. Jason’s outfit in this movie is biballs, a flannel shirt, and a sack on his head. He’s not a supernatural entity here so much as a madman running through the woods. Running. Jason Voorhees runs in this movie. He chases people, and tackles them, and is generally quite energetic.
The music by Harry Manfredini is also really good. Better, I think, than the first movie’s music. He takes the whole Psycho-meets-Jaws thing to a new level.
Alice’s return. Adrienne King returns as Alice in the first ten minutes or so of the movie. She’s having nightmares about the events of the first flick (that helps the audience know what’s gone down until this point) and wakes up. Ms. King is likeable but she’s not a great actress. Her return is generally better than most of the lines she delivered in the first movie. And then she’s killed with an icepick. In her home. In the city. With an icepick. How come so many people die from icepicks in movies? I’ve never even seen an icepick in real life. But anyway, she’s killed and that’s the end of Alice. So, aside from her memories from the first movie that helps set the audience up for this one, what’s the point? According to the well of information known as Wikipedia, Adrienne King was stalked by an obsessed fan of the first movie and only agreed to make this movie if her time was short. Why appear at all? Besides money? Why have her at all? Anyway, it doesn’t work and it makes the ending of the first movie tragic.
Characterization. Get used to this being in my reviews of these movies, methinks. Who are these people? Why should we care about them? I’ll give that the filmmakers of both movies used likeable actors who did their best to give the characters some kind of personalities, but I never really cared about any of them. Not enough to remember their names anyway. There was the guy running the camp, his girlfriend (Ginny–who I looked up to get Amy Steel’s name), the weird guy with red hair and electronic games, the wheelchair guy, the girl-who-likes-wheelchair guy, the frizzy-haired-big-boobed girl, her boyfriend–the blond guy with the hat and the truck, the work-out girl with the dog (who gets nekkid), the smarmy lothario who’s trying to get her…and I think that’s it. These characters mean so much to the filmmakers that the weird guy with red hair actually disappears from the movie. Which leads to–
The story. This movie does not take place at Camp Crystal Lake but at another camp on the same lake, five years later. Two camps sharing a lake? Does that happen? Well, in this part of Jersey it does. I don’t remember the name of the camp and it doesn’t matter, any more than the names of the characters matter. The only purpose of the camp is to make it like the first movie but more believable (???). After all, what’re the chances that a serial killer would go to the same camp?
Not only does the story not make sense, but the direction and editing also has major flaws. After a night at a bar, Ginny and her boyfriend come back to the camp to find everyone dead. Jason attacks the boyfriend but chases Ginny. There’s some cool, intense moments hear, but then she gets away and runs through the woods. We dissolve to the full moon, dissolve back on Ginny running, then dissolve to the full moon. She seems to have run to Camp Crystal Lake, yet when Jason is in the place where she’s hiding, she comes up with the chainsaw she was using earlier in the movie to cut wood, which means she didn’t run out there. Which means…what? She was running in a circle? The boyfriend comes back in Jason’s little hut to help her “defeat” him. They go back to the camp to find the little doggie that we believed was dead because we saw the remains of the same kind of dog earlier (Shi-Tzus run rampant in the woods of Jersey). Then Jason, sans sack, crashes through the window and attacks Ginny. The camera holds the shot and fades out. Only to snap back to Ginny being loaded into the back of an ambulance, asking after her boyfriend. What happened? Why isn’t she dead? And in all of this, what happened to the weird guy with the red hair they left at the bar? Or the other campers at the bar, too? And why does the movie take place five years later? How come so many sequels take place five years later? Don’t filmmakers know that styles and technology change in five years?
There’s a lot that’s taken for granted in this movie, stuff the characters seem to know yet shouldn’t. At least, the audience wasn’t made aware of them in the first movie. The Legend of Jason, let’s call it. The legend went that Jason Voorhees didn’t really die in the Crystal Lake but lived in the woods surrounding it. When Mrs. Voorhees is killed, he witnesses it and decides to kill everyone because of it. We’re told this legend around the campfire, which is cool, except…how come no one in the first movie knew of the legend? How come the crazy old man on the bicycle didn’t mention it when he was telling those original campers about how Camp Crystal Lake would lead to their doom? And how come Pamela Voorhees didn’t know about the legend that featured her son? And if Jason loved his mother so much, how come he lived in the woods, hiding, and not with Mother?
Saturday the 14th
Overall, the movie is a fun popcorn slasher flick, but it’s little more than that. There are too many questions and holes in logic. More so than its predecessor, it feels like a very cynical movie. The cynicism of the filmmakers to give its audience what is essentially the same movie with different faces, the lack of attention to detail, or the lack of any real thought makes Friday the 13th Part II a basically forgettable movie. But it did well in 1981 and meant that a sequel would follow.
The story goes that Sean S. Cunningham, producer of low budget movies (mostly horror, including Wes Craven’s first movie, The Last House on the Left) had an idea for a movie called Friday the 13th. He had no story, no characters, nothing else in mind except for the title. So he went to a graphic designer and had an ad designed with the title smashing through glass. The kicker was the tagline: The most terrifying film ever made. Then he placed the ad in Variety. The feedback was immediate. People–teenagers and young adults, mostly–wanted to see this movie.
Victor Miller wrote the story and Cunningham took on directing as well as producing. You know the story already: After being closed for 20 years because of murders, Camp Crystal Lake is being reopened as a place for inner-city youth to experience nature. A group of young people join Steve Christy in preparing for the reopening. Someone attacks and murders them one-by-one until the lone survivor, Alice, wins. There is a shock ending and an implication that a sequel could be made.
There is a gradual build-up to this first film. Miller and Cunningham start off with a young couple being murdered in 1958, but then allow some time for the characters to arrive at Crystal Lake and hang out before the killings really start up. There is the sense that they actually want the audience to know the characters.
Peter Brouwer as Steve Christy is pretty good, though he is hardly in the movie. He’s the “old man” of the group, in his mid-to-late-twenties, yet is young enough to have a thing for Alice (Adrienne King). There’s an implied romance there that is never developed.
Betsy Palmer is priceless as Mrs. Pamela Voorhees. Her arrival at the end of the movie is sudden but you instantly like her, and then fear her when she goes nutty. Her revelation that she’s the killer and her motive, the drowning death of her son Jason, is well done for a melodramatic scene. It looks as though she’s having a blast playing the crazed killer.
Tom Savini’s makeup is another thing that’s always fun to watch. His makeup never really feels polished yet is always believable. His strength as a makeup/special effects guy is in the roughness of the final product and helps the movie achieve a shock-value that the other early slasher movies lacked.
The music by Harry Manfredini is also really good. It’s very Psycho-meets-Jaws in its execution and sound. When the famous Friday music begins, you know to hang on to your armrest.
The overall feel of the movie isn’t serious. Sean S. Cunningham wasn’t trying to create a horror masterpiece, but rather was trying to make a fun, scary movie. Obviously inspired by John Carpenter’s Halloween, he moves away from his work with Wes Craven to something meant to sell a shitload of tickets, barrels of popcorn, and make kids scream and laugh. And it does. More than 30 years later it’s like opening a time capsule, but it’s fun.
And the last good thing about this movie is Kevin Bacon. He does a good job in this movie. Hell, all of the “kids” do a good job in this movie, but it’s Kevin fuckin’ Bacon! And this is where the passage of 33 years really counts. To see someone who has become more than just a really good actor but an icon in an early role like this is fun. It’s like seeing Johnny Depp in A Nightmare on Elm Street, however, there’s a major difference between the two. I’ll get to that later.
The characterization is crap. With the exception of Mrs. Voorhees, none of the other characters have a history. The only “kid” who seems to have lived at all before this is Annie (Robbi Morgan) whom we first meet hiking into a small town on her way to Crystal Lake. She is thumbing her way there and gives a little insight into her life. There is an attempt at giving Steve Christy and Alice a little bit of characterization but it never really gets off the ground. Whether it was Victor Miller’s writing or Sean Cunningham’s lack of caring is for the individual viewer to decide. I think it’s a combination of both. Considering the slower build-up to the killer’s spree, this is a shame.
Because of weak characterization, the acting never really gets off the ground. As I said before, all the “kids” do a decent job, and I’ve already acknowledged Brouwer and Palmer (and Bacon) but for the most part the kids are given very little to do. They are caricatures more than people. Alice is the nice, smart one who Steve wants but may want Bill (Harry Crosby) instead. Jack (Bacon) and Marcie (Jeannine Taylor) are boyfriend and girlfriend and go to the camp with their friend Ned (Mark Nelson), who is a bit of a jokester who takes things too far. Brenda (Laurie Bartram) is a little risqué but…not…? And to try to go any further is impossible, because that’s all these people are. They’re played adequately enough, but there’s no meat. They’re given nothing to really do but go through the movie and, well, die.
This is the biggest problem of the movie. Because we’re never really invested in the characters, we never really give a damn about who lives and who dies. One of the strengths of Halloween, the thing that made it a classic, is that John Carpenter and Debra Hill crafted teenagers who one could relate to and care about, so when the faceless killer goes after them, you give a damn.
The revelation of the killer at the end is also a misstep. Yes, Betsy Palmer plays Mrs. Voorhees with gusto and has fun in the role, but because she shows up out of nowhere, she’s meaningless to the audience. Miller gives her a throwaway line (“I’m a friend of Steve Christy”) to throw the audience off and make them think she’s safe, but considering they’ve never seen her before it doesn’t matter much. Perhaps if she’d been around throughout, it might have more surprising. Even if she’d been in the town at the beginning, trying to warn Annie off, it would’ve worked. Instead, here’s this nice lady from out of nowhere who must be the killer. (Let’s not go into the question of how she can lift some of these dead bodies and throw them through windows even though they’re larger than she).
Saturday the 14th
Overall, Friday the 13th is a fun movie with no pretensions. Cunningham wanted to make a movie that would sell tickets and popcorn and he did. The film has been picked apart by critics and naysayers since its debut in 1980 (which, being three years old, I wasn’t really aware of). It is not, and never should be, mistaken for a work of art, or even a good movie.
The biggest problem from an adult point-of-view is that it exists only to watch people die in various ways. It’s surprisingly tame considering the later movies and its reputation. There are gory scenes, but the gore is minimal and is cut away from quickly. And there is, surprisingly for a slasher movie, an innocence that comes through. Despite the depravities, it’s somehow a very innocent movie and worth watching now if, for no other reason, only to see it as a popular classic movie, bad as it may be. I had fun.
With the template set, and box office being huge, there was no wonder Paramount wanted a sequel.
If you grew up in the 1980s, you know that horror was king. In the bookstores, the horror section featured many books with lurid covers that titillated and frightened those of us curious–and brave–enough to venture into the section. Late night TV was creeping with horror. And in the multiplex, a turf war was going on. Every child of the 1980s had a side. The horror wars had two major figures and you were usually fans of one or the other. These figures were Jason Vorhees and Freddy Krueger. I fell on Freddy’s side, of course. So it’s with great caution that I have decided to leave my nice home on Elm Street and venture into the woods at Camp Crystal Lake.
I knew of Jason just like everyone else, and over time have caught nearly all of the original movies (the Paramount movies, and the first New Line one). Unlike each A Nightmare on Elm Street movie (or as the lamebrains would call ’em, Freddy Movies), I don’t really remember much of watching the Friday the 13th movies (or the Jason Movies). I know I saw most of them on Cinemax in various marathons, but hardly recall much else, or at least not enough to write about. Even as a 10-to-14-year-old, the movies left me uninspired and unimpressed. Still, they are a part of an era so why not take a look at them in my own, special way?
Over the course of a year, I have watched all the Friday the 13th movies. Considering the final Friday the 13th will be in September, I decided this was the appropriate time to begin a series of essays about the movies. I’ve decided that between September 13th and October 31st, I will post these essays right here. Some of these essays will come twice a week.
For fans of the Friday the 13th franchise, please take it easy on me. This will be like a Boston Red Sox fan trying to write about the New York Yankees (or vice versa). Let’s be civil, shall we?
The poll way back in July gave me a winner. However, I never got to the watch winning series of movies when I wanted to so I haven’t written the essays yet. That said, there’d been another set of essays I’d already started and am almost finished with, so that’s what I’m going with, especially considering next week’s significant date.
So the next movie series will be:
That’s right! Beginning next Friday the 13th, I’ll be posting my thoughts on the Friday the 13th movie series, or as some refer to them, the Jason movies.
Which I’ll totally admit that nobody voted for this series, but they came back on Netflix (well, most of them) and I began watching them again. As of right now, I only have one more to watch and write about, so the series is pretty much all set. Unlike my previous movie essays, though, some of these will be posted twice a week so I can get them all in by Halloween.
After this, the next series will be, finally, the winner of the poll. Which is…
You’ll have to wait.
I look at A Nightmare on Elm Street and its follow-ups as a huge piece of my childhood. You know my feelings on the movies, I spent enough time and energy on them, but I felt compelled to say a few more words on the Nightmare series before moving on.
New Line Cinema had a chance to create a horror film franchise that could actually maintain its scariness, in much the same way Wes Craven and Kevin Williamson would later do with Scream. They had a great villain and a great premise, all they needed was to understand what the nine-year-old in me, and those who have followed me this far along (and all the children in all the adults who are fans of series like this): You can’t do it for the money. Yes, you should be paid for it but the pay should be the frosting when it comes to art. Wes Craven made A Nightmare on Elm Street (and, I suspect, Wes Craven’s New Nightmare) out of the compulsion/obsession to tell the story, and the love of storytelling and filmmaking, not out of the desire to get rich and famous. By focusing on telling a really good story, by hiring people who understood the possibilities of the horror story (someone like Frank Darabont, for example), the Nightmare movies could have been scary as hell and still would have made New Line Cinema money.
Still, Freddy Krueger haunts me. At least once a year since I saw the first movie I have a bad Freddy Krueger nightmare. Love it or hate it, these movies turned me onto horror, which led me to Stephen King, which led me to reading and writing, which led me to…you. The imagination was there and Star Wars and superheroes and action figures helped cultivate it, but Wes Craven’s child is what led me to the realization that I could do something with all these fears and anxieties I have. Sure, it was Stephen King’s prose and storytelling that turned me to the typewriter (and, eventually, the computer), but….
And I’m not the only one. A group of fans made a great documentary in 2010 called Never Sleep Again: The Elm Street Legacy. It’s a huge documentary on the entire series, weighing in at about 4 hours, with lots of bonus stuff on disc 2. I highly recommend it. Anothe documentary I recommend is Heather Langenkamp’s own documentary I Am Nancy, in which she looks at fandom, the power of the Nightmare on Elm Street series, as well as the importance of the character she originated, Nancy Thompson. There’s a lot of heart in this documentary and it brought tears to my eyes, especially when a young woman in a wheelchair explains to Langenkamp how the character of Nancy has inspired her to keep going. Another highlight is an excellent interview with Wes Craven about the symbolism of Freddy and Nancy.
I feel like the guest who stays at the party too long, the person at the hair place who will not drop the topic even though it was over before it began. I hope that’s not the case. I also hope that if you’ve read this far, you’ve been entertained and perhaps have felt the desire to re-watch those movies. For those who give a damn about such things, here’s my Nightmare ranking list:
9. Freddy’s Dead: The Final Nightmare (1991, dir. Rachel Talalay)
8. A Nightmare on Elm Street 2: Freddy’s Revenge (1985, dir. Jack Sholder)
7. Freddy Vs. Jason (2003, dir. Ronny Yu)
6. A Nightmare on Elm Street (2010, dir. Samuel Bayer)
5. A Nightmare on Elm Street 5: The Dream Child (1989, dir. Stephen Hopkins)
4. A Nightmare on Elm Street 4: The Dream Master (1988, dir. Renny Harlin)
3. A Nightmare on Elm Street 3: Dream Warriors (1987, dir. Chuck Russell)
2. Wes Craven’s New Nightmare (1994, dir. Wes Craven)
1. A Nightmare on Elm Street (1984, dir. Wes Craven)
And, as my Dad used to say, happy dreams.
I believe I was still living in Boston–or about to move to Boston, anyway–when the news hit that Michael Bay’s production company was going to try its hand at remaking A Nightmare on Elm Street. I want to note right here at the beginning that I am not totally against remakes. There have been fine remakes over time. The Wizard of Oz (1939) was a remake from the original silent version (Pamela disagrees with me on this, since one had sound and one didn’t; but back then it probably didn’t matter to the person bitching about it). Ben-Hur with Charlton Heston was a remake. The Man Who Knew Too Much with James Stewart, directed by the master of suspense himself, Alfred Hitchcock, was a remake of The Man Who Knew Too Much by a young British director named Alfred Hitchcock. David Cronenberg’s version of The Fly. The most recent version of Dawn of the Dead. Stephen King said that the a few years ago remake of The Last House on the Left was one of the ten best films of 2009 (I haven’t seen it, but will). No, I wasn’t against anyone remaking A Nightmare on Elm Street, I was against Michael Bay, Brad Fuller, and Andrew Form doing so.
They’d produced the remake of The Amityville Horror, which I thought was horrendous. I didn’t see any of their other remakes because they just looked…well…bad. I respect Tobe Hooper’s The Texas Chainsaw Massacre but it’s not a favorite movie. Friday the 13th has never done much for me. But A Nightmare on Elm Street…well, that was another story. If you’ve been following my Nightmare in Gautham series, you know why. I had always sort of fantasized about someone who got the possibilities of the mythology of Nightmare, who understood that Freddy Krueger was as much metaphor as slasher monster, someone who knew how to get under people’s skins and create a beautiful shot would step up to the plate and take it over. Better than that, I would have loved for Warner Bros. through New Line to return to Wes Craven and see if he wanted to try to redo it with a larger budget and better effects. Even better than that, I fantasized that my writing would become huge, that the movie studios would call and ask, “What do you want to do?” and my answer would be, “A Nightmare on Elm Street.”
But Platinum Dunes with Michael Bay, the creative genius who directed the crapfest known as The Transformers, was the guy who got the glove. I was nervous.
Then came news that Samuel Bayer, who’d directed Nirvana’s “Smells Like Teen Spirit” (which always reminded me of a horror movie), had been tapped to make his feature film directorial debut with this movie. Interesting choice, but maybe….
Then came news that Jackie Earle Haley had signed on to play Freddy. Now my interest was piqued. I hadn’t seen him in anything but had heard enough about his performances. As time passed, I saw two of his most recent big roles. First I saw The Watchmen on DVD. Haley is the best part of the movie. Then I saw Little Children, where his performance was great. Yeah, I got jazzed for the new Nightmare.
As I saw more and more about it in the months leading up to the 2010 release, my interest grew more and more. That was when I originally wrote the Nightmare in Gautham series, fueled mainly by anticipation (not to mention ideas that had run through my head for decades).
So the Sunday morning of May 5th, 2010, Pamela and I went to a local movie theater for a private screening. Actually, it wasn’t meant to be a private screening, but Pamela and I were the only two people in the theater. I guess no one wants to go to see a horror movie at 10:20 on a Sunday morning. Yeah, my wife loves me. The movie was done by noon and we went for pizza afterward. That night, I wrote the first version of the following essay.
I have seen the remake/reboot of A Nightmare on Elm Street (2010) only one other time. I think that tells you something.
Some of the actors playing the central characters. Rooney Mara as Nancy Holbrook. She had a strong personality and isn’t too bad as Nancy. My biggest complaint about her character is that it takes the audience too long to get to know her and then doesn’t give her as much to do as she deserves. In the years since, Mara was in The Social Network and was the titular character in the U.S. version of The Girl with the Dragon Tattoo. She brings a frankness and intensity to Nancy that the other characters lack. The same could be said about Kyle Gallner as Quentin and Katie Cassidy as Kris. I thought both were pretty good in the movie but neither were given much to do. The stand-out performances came from the adults, Connie Britton (though this didn’t show her range like Nashville does), Clancy Brown, and even Jackie Earle Haley as pre-burn Freddy.
Some of Samuel Bayer’s visuals. This movie is miles above some of the visual styles in the later Nightmare sequels, though with all the talk in the interviews about how “beautiful” the movie is, there could have been more from him. There have been some internet reports that there were clashes between Bayer and the producers and I wonder how much that had to do with it. Still, the film was pretty solid visually.
Jackie Earle Haley as Freddy Krueger. I write this with some reservations. He was, physically, a good match for Freddy. Also, the dude is creepy without makeup, so in the makeup he was able to go a little further. Freddy’s anger and rage came through quite clearly and it was Haley’s performance more than anything that helped with that. Of course, the strongest part of his performance had been seen last year in the teaser trailer, which features Freddy running from the Elm Street parents and eventually getting burned alive.
The feeling of the movie. I was actually pretty tense during most of the movie the first time I saw it in 2010 (for the record, Pamela didn’t feel the same way; she disagreed with me, “I was never scared or even startled, mostly because they showed it all in the promotional stuff and because the movie was just not scary”). Upon watching it again, the tension that the film brings has little to do with the story but more to do with the anticipation that something is going to happen, some sort of boo! More on this later.
The final battle between Nancy and Freddy. The creepiness of Freddy tormenting Nancy on her bed with her unable to move was a nice touch. The rage that Haley brought to Freddy and Mara’s perseverance in battling him gave the movie a harder edge. Rooney Mara nearly matches Heather Langenkamp’s resolve, but without the silly Wile E. Coyote gimmickry. It’s not perfect, and has some terrible missteps, but overall in enjoyable.
Freddy’s new personality is a little stale. Haley wasn’t bad with the lines (“Talk about a wet dream,” for instance) and some of the other Freddy things he did; licking Nancy’s face when they are outside the preschool; the scene at the end when Nancy is in the little girl dress on her bed and Freddy is taunting her; these are some of the good things about the new Freddy, but he doesn’t have the bad-ass strut he once did or that defiant stance that fucked with his victim. In other words, some of the things that made Freddy what he was is missing. It would’ve been a bad idea for Haley try to mimic Robert Englund’s performance, but you’ve got one of the coolest weapons in cinema history on your hand, and all you do is scrape pipes and the walls with it, and sometimes flicker the fingers? Sometimes Freddy limps. Sometimes not. Also, he just doesn’t fuck with the victims enough, and he barely takes joy in it when he does. In the attempt to take Freddy away from the clown he had become, they made him a little too serious.
The Freddy makeup. The decision to go with more realistic burns was an error. What made Freddy’s burns scary in the original series was that they were kind of fantastic, not all that realistic. They were creepy in the dark, they were creepy in the light, they were creepy from afar, and they were creepy up close. The makeup in 2010 Nightmare looks too similar to that of real-life burn victims and becomes unsettling in a way that the filmmakers probably didn’t intend. And unless the camera is close-up, you really can’t tell what’s going on with Freddy’s face. He looks like a strange meatball with a body. Haley also wore contact lenses, one that was milky-gray, again, like a real burn victim might have. Robert Englund (mostly) didn’t wear lenses which helped give Freddy character. You never see the glee Freddy has taunting his victims because the eyes are hollow.
The CGI wall. It didn’t work in the commercials or in the movie. The $1.98 version in the original still creeps me out. This one made me roll my eyes and shake my fist at the screen.
The plot holes. The Elm Street parents never had any evidence that Freddy hurt their children, yet they track him down and burn him alive. The thing that made Wes Craven’s original so chilling was that the justice system failed the parents, so they then took the law into their own hands. I would think that with the Tea Party out there saying that people need to take their government back, with people like O.J. Simpson getting off a murder rap, that the twenty-first century Nightmare would eat that shit up. But no, the parents take the five-year-olds’ word that Freddy the gardener had done something bad to them and then go cook the guy. Quentin was shocked at this, and so was I. It doesn’t make sense.
Then when Nancy and Quentin go to the old preschool where Freddy had done some bad stuff to them as children, it’s pretty apparent the place has been closed down for a while. They break in, see how it has been vandalized over the years, go into the basement…and find Freddy’s little home, dusty, filled with cobwebs, but still there. How do they know? Why, because of the fingerknives lying on the workshop table. Yeah, so, all the parents pull their kids out of the preschool, the gardener disappears, the place closes down, and no one cleans the fucker out? I would understand if Freddy’s secret room were still there, untouched, with the pictures of Nancy and his Dark Knight clown mask on the wall, but the living quarters? Really? Which leads me to:
The past. Freddy Krueger was the gardener living in the basement of the preschool. Yeah. In the early 1990s, after Adam Walsh and all those other happenings in the world, would a preschool allow a gardener to live in its basement? And if it did, would a good parent send their child there? And even if one parent did, would others? It doesn’t make sense. There is no logic, which is scarce in this movie (remember, Michael Bay’s name is attached).
So in the past, the kids go home with cuts on them and tell their parents about going into “the special cave” where, it’s hinted at, Freddy molests the kids. However, he doesn’t seem to kill any of the kids. So when Craven was making the original, they dropped the molester part and for this one, they drop the killing part. All right…when Marge Thompson tells Nancy in the original that Freddy was “a filthy child murderer,” the audience understands what filthy means. But if this Freddy isn’t a killer, why fashion the glove? Because of all the things wrong with Krueger’s mind, he isn’t stupid. So he’s going to do bad things to the kids and cut them and expect the parents to never find out?
Nancy Holbrook had repressed memories. All right, I diggit. Nancy Thompson and all their friends do, too. Huh? That was always a plot point that stuck in my craw, from Craven’s masterpiece to this movie. Now, I have a very good memory. I remember being five years old in kindergarten, and four years old before it. Like the guy who knocked me into the snow as he was walking by carrying a shotgun after an argument with his girlfriend. I can remember that day very well. I also remember at two years old stepping on a large, black thumbtack-thing that lodged itself into the center of my foot. I still hate going barefoot. But Nancy, Nancy, Tina, Kris, Glen, Quentin, Rod, and Jesse can’t remember their peers either disappearing or themselves being molested by someone they seemed to love? One of them repressing the memory, sure, but all of them? I don’t know.
Another story issue concerns the Elm Street kids. Nancy, Kris, Jesse, Quentin, and Dean are all aware of each other and are all friendly, but they aren’t friends. The movie opens with Dean, who’s been having nightmares. We even see a bit of one. Kris comes to the diner where Nancy works (only for this scene) and Quentin and Jesse are eating. Jesse and Kris have recently broken up and Quentin and Nancy eye each other. This is pretty much what this version of A Nightmare on Elm Street does to introduce and build characters. By the end of the scene, Dean is dead. Kris believes in Freddy right away, and tells Jesse this at Dean’s funeral. Jesse tells her that nothing is going on when Nancy approaches them and tells Kris she believes her. Jesse tells Nancy to fuck off. We then spend more time following Kris, who seems like an over-privileged girl than her 1984 counterpart, Tina. Kris is the Janet Leigh of this film, just as Tina was in her version, only Kris is devoid of any real character. Even the sadness inherent to Tina’s life with her mother who went away for the night with her boyfriend is gone: Kris’s mother is a flight attendant who’s leaving for a bit. By the time Nancy becomes the star, we still don’t know her, because no one is really talking to her. Still, Jesse goes to see her after Kris’s death. After Jesse dies, Quentin informs her that he died in his sleep, though anyone in the jail who found his mangled body would believe otherwise. Again, there is no logic, and there certainly isn’t any characterization.
Because these Elm Street kids aren’t friends, we never learn who they are, and we never care who they are. The second half of the movie, which focuses on Nancy and Quentin in their search to uncover the truth about Freddy, almost reach a level where one may care about them. Almost.
The use of the quick extreme close-up and Freddy turning his head. It’s used too much. In a promotional video for this movie that is on the DVD of The Final Destination, they show Kris in her attic with a flashlight. The beam goes over some boxes, one of which has an old fedora on it, and when the beam slips back, the hat is an inch higher and Freddy is peeking at her. She screams and I screamed when I saw it on YouTube. They replaced this creepy moment with Freddy’s face coming at the screen quickly, like those internet videos meant to scare people. A genuinely creepy moment replaced with an internet scare. Nice.
Lack of internal logic. I know I’ve mentioned this several times already, but it’s really bad. Nothing really makes sense, and not in a nightmare-come-to-life kind of way, either. By making this new Freddy not kill the children, they remove the need for the glove. By making him a gardener that lives on the premises of a daycare/preschool, they remove the very real fact that parents would not have allowed that by the 1990s. By having the kids not be friends, they remove any pathos or empathy from the viewer. The story falls flat because the characters are as bad as some from the worst sequels.
The Morning After
In the grand scheme of Nightmare movies, I rank the remake between Dream Warriors and The Dream Master in terms of direction and feel and between The Dream Master and The Dream Child for Freddy, but overall, it’s just above Freddy’s Revenge and Freddy’s Dead. During the pre-movie press, Platinum Dunes and New Line kept forcing every person who had anything to do with this movie to say the movie was a re-imagining but it feels more like a lame sequel. Also, the movie just isn’t scary. Well, not in the way I thought the original was.
Overall, this Nightmare doesn’t do it for me. When I first saw it, I liked it well enough, but time and a second viewing have changed my mind. I don’t like it, because it feels devoid of the very things that made me love the original and its sequels. I’m not against remaking Freddy or the Nightmare on Elm Street series (I even have a great idea for a reboot…one that people I’ve told it to have actually been surprised by), but this one is weak at best, and flimsy the rest of the time.
If you’re reading this (especially if you’ve read all the essays I’ve written about Freddy Krueger) then you are probably well schooled on the Nightmare movies. You’re also probably well aware of how New Line Cinema and Sean S. Cunningham wanted to put Freddy Krueger and Jason Voorhees together since about 1985 or so. First, Paramount Pictures had the rights to Friday the 13th and Jason and was willing to pay to “rent” Freddy Krueger for a team-up. New Line said no. Then, after Freddy’s Dead came and went, New Line got the rights to Jason and was finally ready to do the team-up. They even hinted at the idea in 1993 when Cunningham and New Line Cinema put out Jason Goes to Hell: The Final Friday. The movie ends with Jason’s hockey mask lying on the dirt, the monster having finally been destroyed, when all of a sudden–Boo!–Freddy-fucking-Krueger’s gloved hand erupts from the ground, grabs Jason’s mask, and pulls it underground with a poor attempt at the famous Freddy laugh (upon rewatching this clip on YouTube, it doesn’t appear the filmmakers used a soundclip of Robert Englund’s laugh). This time it was Wes Craven who stopped the project with a better idea: New Nightmare.
Time passed, scripts were written, passed on, written and rewritten, and passed on, et cetera and so on until, somehow, the final script for Freddy Vs. Jason by Damian Shannon and Mark Swift was agreed upon and director Ronny Yu was hired to direct.
For me, 2003 was an interesting year. I made my first professional sale to Borderlands 5 (which features a story by David J. Schow, who wrote one of the early scripts for this movie) along with some smaller press stuff. My first marriage also hit the skids this year. The summer of 2003 was a soul-searching one for me, trying to figure out what to do with the marriage, my heart no longer in it, worrying about my five-year-old daughter, worrying about how I was going to move on. I had gone back to college to finish my degree and life was rapidly moving and I was terrified. On August 15th, nine days before I would turn twenty-six, I went to the local movie theater alone, sat in the middle of the back row, and awaited for one of my childhood “friends” to return after a too-long (and yet not long enough) absence.
There was almost no one in the theater with me when three people came in, two guys and a young woman. Of all the empty seats in the theater, they chose to sit next to me. I pegged the young woman to be in her early-twenties, only a few years younger than me, and the guys in their mid-to-late-teens. My guess was older sister bringing younger brother to the R-rated movie, but I’m probably wrong.
I’m a pretty quiet person when I’m with people I don’t know. I’m extremely shy and suffer from social anxiety (whee!) so I didn’t make any small talk with the young woman or the guys, just moved my legs so they could get by me. The young woman turned to me, though, and said how she loved the “Freddy movies” (a term I hate) and the “Jason movies” (another despised term). I said that I was a Freddy fan (sans “movie” after “Freddy” you should note) as well but had never really gotten into the Friday the 13th movies.
“So,” she said as the lights dimmed for the previews. “Do you think this movie will be a good movie?”
I gave her my best Harrison Ford half-smile and said, “Silence of the Lambs was a good horror movie. I’ll be happy if this is fun.”
She nodded and the previews began, and then the movie. I believe she said goodbye on the way out. I was just happy that the movie was fun.
The movie got bad reviews and good box office, which is no surprise.
Before we go any further, I feel that I should mention my knowledge on the Friday the 13th movies, or rather, my lack of knowledge. I have seen almost all of them, except Jason X and the Platinum Dunes remake from a year or two ago, only one time each. I can remember that Mom is the killer in the first, Jason wears a potato sack in the second, then the third, fourth, fifth, and sixth run together. I know that Corey Feldman is in one of them, and another has an older version of his character played by another actor. I faintly recall watching one called The New Blood, about a psychic girl, and then watching Jason Takes Manhattan (one of them had a girl who wanted to be a writer and her mother or father gave her a nice pen that was once used, they tell her, by Stephen King). I remember watching Jason Goes To Hell because Fangoria had reported the shot of Freddy’s hand grabbing the hockey mask (I also seem to remember enjoying it in the way one enjoys a bad horror flick). As I said, though, I’m more of a Freddy guy. Be warned that before going the rest of the way.¹
Freddy’s back. Robert Englund’s return as Freddy Krueger was, despite the clown he had become in the last few movies before New Nightmare, good. In the opening scenes of Freddy Vs. Jason, you know that Freddy is being brought back a bit to his darker roots. The makeup job is reminiscent of the makeup for The Dream Master. His sweater is darker, the glove looks different, and I daresay this version of Freddy looks the most like Robert Englund, but it’s fun to watch him again. Englund is able to channel Freddy’s darker ways in this movie, while still being able to deliver the one-liners and silliness he had also become known for. Perhaps the nine-year rest was helpful for him. Perhaps the very situation was helpful for this audience member.
Anytime two horror icons meet onscreen, there is a sense that the movie involving them doesn’t need to be serious. The idea of one of them existing is silly but we accept it for the sake of the movie, that whole willing suspension of disbelief thing. The idea of two of them existing in the same world and ready to fight each other is preposterous yet we anxiously pay our money down and go in to watch the fight. Robert Englund–who had made a second career being the burlesque Freddy on talk shows, at conventions, and on MTV–is able to do his shtick while not offending moviegoers expecting the horror movie to be scary.
This movie’s version of pre-burn Freddy is also the best version caught on film. The version shown on the premiere episode of Freddy’s Nightmares–A Nightmare on Elm Street: The Series (the episode is called “No More Mr. Nice Guy” and was written by Michael DeLuca, the hack who co-wrote the screenplay for Freddy’s Dead: The Final Nightmare) and the version shown in Freddy’s Dead are not really that interesting or scary. This time, he is creepy and Englund relishes the role. Also, it seems director Yu seems to know how to use Freddy in an interesting way, though not always greatly.
Ignoring Wes Craven’s New Nightmare was a wise choice. This movie takes place within the continuity of the Nightmare series pre-New Nightmare, even taking into account the THE WORST NIGHTMARE MOVIE Freddy’s Dead. (I suppose it also takes place within the Friday the 13th universe, though I don’t know it well enough to say for sure). It doesn’t make for a better movie, but one that is easier to digest. You know, for a bad horror movie.
Katharine Isabelle. All right, I just like her. She was Ginger in Ginger Snaps, one of the best horror movies of the last decade. I wish she’d been given a better part, but I was happy to see her in this movie.
The Freddy versus Jason fights. There are several fights between the two headliners. The first happens in Jason’s dream and Freddy kicks his ass. It turns silly when Freddy uses the Force to throw Jason all around, yet it’s entertaining enough. I mean, if you’ve paid to see a movie called Freddy Vs. Jason, then you have to expect some silliness. The second–and final–fight happens for most of the end of the movie at Camp Crystal Lake. Lori (Monica Keena) and Will (Jason Ritter, son of the late John Ritter, one of my favorite actors, who died less than a month after this movie’s opening) have figured out that they can pull Freddy out of the nightmare (sort of like A Nightmare on Elm Street and Freddy’s Dead) and then maybe Freddy and Jason will kill each other. They fight at a construction site, in an old cabin, and on a dock. In other words, they’re fighting for a good portion of the movie and it’s worth every penny of the too-high movie ticket. It is stupid, mindless, andgory cartoon violence…and it is exactly what the audience paid to see.
The teens/victims in this are all right but aren’t very interesting. As a matter of fact, none of the characters in this movie are interesting. While the attempt to give the audience a story that is more than just two monsters beating the shit out of each other is welcome, and the story is okay–a typical slasher movie at best–the actors just aren’t that interesting. Monica Keena, Jason Ritter, Kelly Rowland, Katharine Isabelle, and all the rest do their best with what they’re given (and with what talent they have), but they’re boring. Maybe a better script or a better director could have helped them, but the characters leave a lot to be desired.
The slow-motion in this movie is fucking annoying. I don’t remember either series having many slow-motion shots, but Ronny Yu seems to love them. I didn’t remember there being that many slo-mo shots until watching the movie again a few years ago. It detracted from the movie for me. Slo-mo is a handy effect when used properly but Yu uses the effect like a kid who has just hit puberty and has discovered his dad’s dirty magazines, he can’t stop doing it. One time, okay. Twice? Well… But by the third time (and there are more than three times slow-motion is used in Freddy Vs. Jason), give it a rest or you’ll hurt yourself.
The character of Bill. He’s so bad, that I gave him his own category. Played by Kyle Labine, Bill is a rip-off (homage?) to Jay (Jason Mewes) from Jay and Silent Bob (Kevin Smith). It’s a blatant rip-off and stops the movie dead in its tracks. Even the character’s death is lame, which leads us to–
The CGI worm. I’m not against CGI like some people seem to be. Practical effects are great, but CGI is fine when used wisely. While the character Bill (Kyle Labine) gets high in Westin Hills (see Dream Warriors and The Dream Child) Freddy comes to him as some sort of caterpillar monster thing (with red-and-green stripes, of course) with a hookah/bong á la Alice’s Adventures in Wonderland. The caterpillar takes a toke as Bill is doing the typical “Yeeah, duude,” thing, then blows the smoke in Bill’s face. Now, the merging of Freddy with Alice² and naming a character Bill all in one scene should be a wet dream for me, right?
Wrong. See, there’s one element to the scene that baffles me: the drug use. It baffles me on several levels. One, you and your friends are in mortal danger, you have all broken into this institution to steal an experimental dream suppressant (again, from Dream Warriors…it’s been experimental since 1987…say, wha–?) and, for reasons of plot convenience, have all separated. You are alone and to curb your anxiety, you decide to toke up a spliff. Huh? I mean, I know addiction can be a bitch, but really? Two, I’ve never been high. Or drunk, for that matter. I have no interest in getting high so drug humor sometimes escapes me. Now, I know that I’m the Odd Man Out on that count, but I really have to question the rationale behind having a character getting high in the middle of a covert operation that could land him in jail, not to mention the dude in the hockey mask trying to kill everyone who’s awake and the burned hombre in the Christmas sweater trying to get you in your sleep. But there the character is, getting high, and seeing a poorly animated Freddy caterpillar.
The Freddy caterpillar blows the smoke into Bill’s face which makes Bill see weird shit that makes him throw out the experimental drug. Then he looks up and there’s the Freddy caterpillar on the ceiling. It then drops down onto Bill and pushes itself down his throat. And now Freddy has possessed him. Wow, bad CGI and bad writing! Will wonders ever cease…?
The overall use of CGI in this movie is annoying. There’s just too much for no real reason, and it’s all bad. At least try to make it look as good as a movie by George Lucas or James Cameron.
1428 Elm Street is a totally different house. The first two Nightmare movies as well as Wes Craven’s New Nightmare used the same house in L.A., 1428 North Genesee Avenue. From Dream Warriors through Freddy’s Dead, a set was constructed for the haunted house version. This movie was shot in Canada (mostly British Columbia) and used a house that almost looks like the original, but not quite. It’s a small thing, but….
The Morning After
The filmmakers and the studio put just enough thought into Freddy Vs. Jason to make it sustainable for a 97 minute runtime. Even at just over an hour and a half, it’s too long by about fifteen minutes. This is a modern version of the classic monster duo movies and, like the 1980s movies that inspire it, it’s silly, gory, and devoid of any social merit. It works by combining some of the best elements of the Nightmare films and adding Jason. And that’s the thing with this movie, despite sharing the billing, Freddy is the star, outshining the other monster in this film in every way.
This makes sense. The Nightmare movies, for all their unnecessary killings, at least have imagination. The Friday movies (not the ones with Ice Cube) never did. While the first movie is a mystery filled with gory deaths and no characters that one can truly care about, the movies that followed didn’t even have a mystery element to it. They were all movies about a zombie killing teenagers with a machete and other tools. Freddy is the dominant personality. He’s interesting. He’s imaginative even if the end result isn’t.
Freddy is also more of the villain of the movie. While Jason definitely has some kills and isn’t someone these fresh-faced kids would have over for tea, Jason’s story is far more tragic. Jason is a victim seeking revenge for what happened to him and his mother. Freddy was a perverted murderer who pretty much got what he would’ve received had he not been let out of jail on that technicality. Jason is evil because of his own stupidity. Freddy is evil because it’s fun for him.
Essentially, Freddy Vs. Jason is a waste of time and money. Yes, it is the culmination of many schoolyard arguments over twenty years. Yes, I had fun when I saw it. Yes, I own a copy on DVD. But it’s a waste. The horror story they attempt to tell is only there to justify the movie’s runtime and ultimately fails because you never care about the possible victims thereby subtracting any horror. The reason you don’t care is because you didn’t pay to see Monica Keena or Jason Ritter or the chick from Destiny’s Child (one of the ones who isn’t Beyoncé), you paid to see Freddy and Jason beat the piss out of each other, and on that level, the movie delivers. In the end, though, Freddy Vs. Jason is the bastard of a hundred maniacs. It is a 97-minute essay on why the 1980s horror balloon popped. Too much focus on the dollar, not enough on imagination.
¹ I wrote this paragraph in 2010 and decided to leave it. My experience with the Friday the 13th movies has grown some. Last year, I began to watch them back-to-back. Unfortunately, I only got to the fourth one when Netflix suddenly stopped shipping them. It’s my intention to finish watching them this year and do a series of essays, like this series, either later this year or sometime next year.
² My novella, Alice on the Shelf, was first written in November/December 2003 based on a dream I had September 12, 2003–the day that I learned of John Ritter’s death. After many rewrites over the seven years, Alice on the Shelf was released in 2011. At one time, I would have casted Katharine Isabelle in the role of Miranda/Alice. Weird how it all comes together, huh?
I was probably a junior in high school when I first read that New Line Cinema was going to not only bring Freddy back from the dead but that none other than Wes Craven would return to rebirth Freddy. I was excited, albeit skeptical. I hadn’t been a huge fan of Craven’s post-A Nightmare on Elm Street movies Shocker and The People Under the Stairs but was hopeful that he would be able to rejuvenate Freddy. I was a senior by the time the movie was released.
I loved it.
I left the theater with a bounce in my step. Not only had Craven rethought Freddy and Nightmare but he made a movie that was more than a sequel. It was a film on its own; one didn’t need to have seen any of the Nightmare movies in order to understand and enjoy this movie, yet, knowing at least the first movie helped this one. Also understanding where Freddy went wrong enhanced the telling.
Unfortunately, despite some of the best reviews that any of the previous Nightmares received, New Nightmare hardly found an audience (if memory serves, I was the only person in the theater; or perhaps one of two or three people). The film was released amid very little fanfare and disappeared quickly. Except for the horror magazines like Fangoria and the Fred-heads (again with that silly term!), New Nightmare may as well not have happened. Except…in the years since its release, it seems to have found its audience.
Wes Craven’s return. For real this time. The legend is, this was the first idea Craven pitched in 1985/6 for Nightmare 3, a sort of behind-the-scenes/Freddy comes to haunt the filmmakers story and New Line Cinema passed. I can’t say that I blame them and while I’m sure it would have been an interesting movie, it probably wouldn’t have had the power that the movie did in 1994, ten years after Freddy’s debut. Craven, who’d had some ups (The Serpent and the Rainbow) and some downs (the aforementioned movies) after the original Nightmare, seemed to be ready to explore the idea of Freddy Krueger and what his (Krueger’s) success meant more than to make another Nightmare. He also seems to be as interested in the storytelling process and what the horror film means as he is to scare the shit out of you. So his script and his direction bring us a Nightmare like no other. This is a master at work, folks.
Craven’s story for this movie is one of my favorites. By moving outside of the continuity (ha!) of the previous movies, he is able to dissect 1) Why the hell is Freddy Krueger and the Nightmare movies so popular? 2) Do horror movies affect their audience and if so, how? 3) For the filmmakers of such movies, where does the line between fantasy and reality lie or is it blurry? 4) Do horror stories serve a purpose other than a) making a quick buck for their producers, b) to scare people, c) giving a hard-on to immature assholes who think it’s cool to watch people die gruesomely in movies? These are questions I believe all creators must ask themselves if they write scary stories. And like other creative people, Craven uses his art to look at these things. Stephen King has surely done it in almost every story he’s written that has a writer as the main character, though the most successful King writers are Paul Sheldon from Misery, Thad Beaumont from The Dark Half, Mike Noonan from Bag of Bones, and Stephen King from The Dark Tower. With New Nightmare, Craven has done the cinematic version of this.
Heather Langenkamp, John Saxon, and Robert Englund. These three returning to the Nightmare playing themselves is great fun. Only an idiot would believe that the lives of these three are so intertwined that they are all so buddy-buddy, yet their acting is so good you do believe it. I’m sure that these three actors truly do have admiration for each other as well as a friendly relationship, but I don’t know that I buy Langenkamp and Saxon chilling in the park, talking about life while Langenkamp’s son is playing. The performances have me buy it for the movie, though, each time I see it. Langenkamp’s performance trumps either of her earlier Elm Street efforts. The decade between the first movie and this one (and a better director than the third movie’s) brings out a performance that should have gotten her more parts in good movies. Saxon plays himself restrained and understanding, the fatherly friend we all hope to know. Englund’s turn as the uber-celebrity of the series is both hilarious and understated. I should note that the acting by the New Line execs as themselves, as well as Wes Craven as himself, are all pretty good (although Robert Shaye is pretty bad, but in a good way, this time).
Robert Englund as “Freddy Krueger.” All right, he’s really not Freddy this time. He’s Freddy in one appearance at a talk show where Langenkamp is being interviewed, dancing around and doing the Freddy The Clown shtick. The demon that has taken the form of Freddy, though, is good. The new makeup is a streamlined, enhanced version of the burns that Freddy sported throughout the main series, though here is a more artistic rendering. The muscles underneath the broken flesh have lines coming from a center point and look unnatural and cool. The contacts that keep the entire eye white except for the tiny black pupils are creepy and work. The turtleneck sweater, leather pants, knee-high boots, and trench coat that are all tight around the Demon-Freddy’s more muscular body works. The muscular body, for that matter, works. And, of course, the claw fashioned after the claw on the poster of A Nightmare on Elm Street, complete with a thumb knife gives the final touch. This is a Freddy who wants to kill you. He’ll have a smartass line (I don’t want to use one-liner), but he’s really more about chopping you up.
The funeral scene. After Heather’s husband Chase (David Newsom) dies in an “automobile accident” (he fell asleep at the wheel), there’s a funeral with Heather, her son (Miko Hughes), the babysitter Julie (Tracy Middendorf), John Saxon, and Robert Englund all in attendence. Also in attendance is Wes Craven, the people from New Line, and several cast members from the previous Nightmares. Again, it’s unrealistic that this would actually happen, yet it’s a great touch to the fantasy of the piece. Craven has given us in this scene (as well as the examples I wrote of before) what many people believe happens in Hollywood. Everyone knows each other and they’re all friends. The sweep of the mourners is so quick, you really have to be paying attention to see Jsu Garcia, Tuesday Knight, and others in the crowd.
The style of the movie. The real world scenes of the film are shot in a documentary style that compliments the story and the nightmares are more cinematic. The cinematography of the movie is strong and the special effects are good, utilizing everything that was available in 1994.
The ending. About halfway through the movie, Heather is reading Hansel & Gretel to her son Dylan (Miko Hughes) and she gets to the where the children throw the witch into her own oven. The story gets graphic and, considering the hellish few days the two have been through, Heather decides it’s too much and stops the story. Dylan grabs her arm and says, “No, Mommy. Keep reading.”
“But, Dylan, honey,” Heather says. “It’s too much right now and besides, you already know how it ends.”
“But, Mommy, I have to hear Hansel and Gretel get away.”
I’m paraphrasing but it goes along those lines. This is brilliant. Most people who watch/read horror stories want the heroes to survive and the monster killed. When a book like Cujo comes along, or Darabont’s adaptation of The Mist, where tragedy seems to win (even though the monsters, for the most part, do not), they get upset. Yet, those same viewers will often be happy when Carrie’s hand pops from the grave for one last Boo!, as Brian DePalma and his screenwriter Lawrence D. Cohen have happen in the film version of Carrie. This sort of Boo! has become a staple of the horror film and was forced upon Wes Craven during the shooting of A Nightmare on Elm Street. What this essentially tells the viewer is, “Yes, you’re safe for now, but this monster is still alive and is going to come back.” Perhaps it’s a means of saying that evil never dies and tragedy never ceases, or perhaps it’s a mistake because, essentially, there’s never any closure.
The ending of New Nightmare does no such thing. The ending has Hansel & Gretel get back home, so to speak. There is no Boo!, just a FADE OUT as Heather and Dylan read a screenplay they find on the bedroom floor after their final confrontation with Freddy. The screenplay is called Wes Craven’s New Nightmare by Wes Craven. Perhaps Craven has a point here.
Miko Hughes as Dylan Porter, aka. Heather Langenkamp’s fake son. Miko Hughes started playing Creepy Kids pretty young, as the ill-fated Gage Creed in Stephen King’s Pet Sematary. Here he plays another Creepy Kid. I’m not against Hughes as a young actor–the boy was cute and seemed to have some talent–but I’m afraid Craven made a fundamental mistake that many movies make with their children in movies like this: the kid is creepy! It’s not because he’s taping knives to his fingers and swiping at his mother, or foaming at the mouth, or seemingly channeling Freddy, but that he looks doped most of the time.
Well, he hasn’t had much sleep because of his nightmares, one can argue. True that (I’m so gangsta sometimes I gotta check myself befo’ I wreck myself), but I’ve dealt with a child who has had little sleep and catatonia isn’t in the cards, not in the few days this story takes place. The kid lost his father, though, Bill! I know, but the kid is four/five-years-old. I’m pretty sure that he wouldn’t be so out of it. I may be wrong (and I’m sure you’ll let me know), but that’s what I’m thinking. The Creepy Kid thing is something that bothers me in movies and someday perhaps I’ll write an essay about it, but I’ll leave poor Miko Hughes (whom I’ll still quote, “I played with Mo-ommy and I played with Ju-udd, now I wanna play with yoou!”) alone here and say that a better performance could have been gotten from him. He has some very good moments in New Nightmare, but the majority of his part bothers me.
Johnny Depp was never asked to appear in New Nightmare. As mentioned above, a slew of actors from the Nightmare movies were asked to come and take part in the funeral scene. Noticeably missing, though, is Johnny Depp. In the 1999 DVD commentary, Wes Craven reveals that he didn’t think that Depp would be interested in making a cameo. He reveals that when they ran into each other at a function after the movie was released, Depp told him he would have made the cameo with no hesitation. So now we will always be haunted by Freddy smashing Johnny Depp in the face with a frying pan in Freddy’s Dead and long for a somber look toward his first onscreen girlfriend in New Nightmare. Lesson to be learned, kids: Always ask.
The final battle. Again, Craven fumbles the ball in the final battle. I had originally written that Craven drops the ball, but that’s not quite true. The final battle in this movie is superior to the final battle in A Nightmare on Elm Street. Craven utilizes matte paintings, miniature sets, digital effects, and practical effects to pull off Freddy’s labyrinth in the nightmare world, all of which is great. Heather, who has become Nancy again, has gone to the nightmare to rescue Dylan. There’s some creepy stuff here. Unfortunately, a lot of it is silly. Again, I wonder if it’s the old Evil-Isn’t-As-Strong-As-It-Seems thing. Two of the silly sequences in the final battle are that Freddy tries to eat Dylan…alive–his mouth opens wide enough to fit the boy’s head–and the long, long, long tongue that wraps itself around Heather/Nancy until it’s stuck down with a knife, then it retracts like a vacuum cleaner’s cord, leaving a snake-like forked tongue. This rubbed me wrong back when I first saw the movie and it rubs me wrong now.
The Morning After
Wes Craven’s New Nightmare is really not a sequel to A Nightmare on Elm Street. Had it been made twenty years later, it probably would have become an instant classic (of course, the story might have to change…maybe Heather would be the mother to a teenage girl haunted by Freddy…). Craven’s script and direction is superb. The film is a minor masterpiece in horror cinema and rivals the first Nightmare in many ways. The questions that Craven asks about the responsibility of the creator of horror stories are serious, important ones. His commentary on 1980s horror is also pretty important. By cheapening the monsters like Freddy Krueger, by diluting them and turning them from our worst enemies to the friends we can look forward to seeing once a year, the horror genre is cheapened. It becomes a sort of fun way to see terrible things happen to pretty people. The doctor Heather must answer to when Dylan is admitted to the hospital, played frustratingly well by Fran Bennett, is the voice of the censors and those who do not like and do not understand why some horror can actually be called art. She accuses Heather’s work in the Nightmare movies (and, in essence, Wes Craven, Robert Englund, et al) of being hazardous to children.
A good horror movie, a good horror novel, doesn’t just scare us but also mixes a real idea into the ingredients, just like any good book or movie does. Freddy Krueger acted as a way for people to release the stress for people living in the late twentieth century. Why was there a horror boom from the late 1970s through till about 1991/92? Because people were scared. The Soviet Union, the threat of nuclear warfare, AIDS, the results of the 1960s/1970s social movements that had changed the way things were (most often for the better, but whenever anything changes–for good or for ill–new fears surface), high inflation without higher pay, the old ways slowly dying as newer, sleeker ways came in–it was a hectic, scary time. The horror movie/novel and characters like Jason Voorhees, Leatherface, Michael Myers, Chucky (consumerism gone mad, folks), the Cenobites from Hellraiser, Cujo, Christine, and, of course, Freddy Krueger helped encapsulate that. In 1994, under a President who wasn’t as scary (despite what the Right would have had you believe) as Ron Reagan, Wes Craven was willing to look back and willing to tell us why Freddy worked and why he stopped working.
The themes that carried Craven through New Nightmare would be revisited two years later when a young screenwriter by the name of Kevin Williamson sold a script called Scary Movie to Bob Weinstein at Dimension Films and they approached Wes Craven to direct. Over the course of shooting, the movie would be renamed Scream and helped rejuvenate the horror film for a bit, straight through one very good sequel, one good sequel, and one shitty “Why bother?” sequel. But it started here with Freddy, with Wes Craven’s New Nightmare.
It would have been a bad choice for him to revisit Freddy and try to do an in-continuity movie (shit, those who made in-continuity movies couldn’t get it right!). This settles the argument. Even though New Nightmare is often lumped together with the other sequels, it really is so much more than that. Yes, there are a few small blunders, but the movie is worth watching and studying. It’s a movie as much about storytelling as it is about dreaming, though one could argue that storytelling and dreaming aren’t all that different.
There were no new Nightmares for the two years I was in junior high school, which is probably all right, junior high was a bad enough nightmare. Still, the horror didn’t stop. A week before I began the eighth grade, the night before my thirteenth birthday, I saw a profile of Stephen King on ABC’s Primetime Live. It made me more curious about him than ever so the next day I bought his novel The Shining. By chapter 3, I decided I wanted to be a writer. It was 1990.
I don’t remember when I first learned of Freddy’s Dead: The Final Nightmare in 1991, but feel like it was in a movie poster. Either way, learning about a new Nightmare to open on September 13th (it was a Friday), just weeks after I began high school, was pretty cool. So there I was in the theater during the opening weekend, with my 3D glasses waiting for the right moment and….
Would it be hyperbolic to say that I knew it would be a turd before the movie’s title had even shown up? At the start of both Dream Warriors and The Dream Master, the writers/directors put quotes from Edgar Allan Poe and The Bible respectively. The Dream Child skipped this but director Rachel Talalay (who concocted this story and co-wrote the screenplay) and co-screenwriter Michael DeLuca (who had written episodes of Freddy’s Nightmares—A Nightmare on Elm Street: The Series) put in a quote by Frederich Nietzsche.
Okay, says fourteen-year-old Billy. That’s a good quote. Then comes another quote:
And we’re off. I knew this would be garbage. At fourteen-friggin’-years-old I knew this movie would suck, but I hoped I was wrong. I could end the essay right here because there’s really no reason to go further. But I will, because I’m compulsive (and perhaps too self-indulgent) and because you’ve stuck with me to find out which Nightmare I deemed THE WORST NIGHTMARE EVER.
After that wonderful quote, the title comes falling down one letter at a time like boulders, a title that I hated when I first learned of it: Freddy’s Dead: The Final Nightmare. It pretty much says everything right there. Why see it? Then a really horrible map that appears to be shot from a computer screen pops up, revealing that Springwood, the town that Freddy has haunted since 1984, is in…Ohio? But what about Tina’s reference to weird things happening before earthquakes in the first movie? And the palm trees that pop up in shots throughout the series? O-fuckin’-hio?
Then the shit really hit the fan, and with it in 3D, oh, what a mess was made.
I left the theater numb. (Well, I always leave a movie theater numb. I actually refuse to talk about a movie for a while after I see it and never speak of the movie while still in the theater…unless it’s so good or so bad that I cannot help myself). I left the theater with a hatred for Rachel Talalay and Michael DeLuca and Robert Shaye and New Line Cinema for ruining The Greatest Monster Of All Time.
So, let’s get our gloves on and dissect this muthafuggah, shall we?
Yaphet Kotto. He acts in this movie. He is one of two people who do. Like Dr. Neil Gordon (and one could argue Nancy was also an adult in Dream Warriors), he is an adult that believes in Freddy and is willing to help dispose of him. Unlike Dr. Neil Gordon, he didn’t have good writers like Frank Darabont to give him much to do. His talent is wasted.
Lezlie Deane plays Tracy. She’s also pretty good in this movie. Her portrayal of the damaged girl with anger management issues is pretty right on and she’s worth watching.
The running time is 96 minutes. I used this same joke on Freddy’s Revenge. Deal with it.
Speaking of A Nightmare on Elm Street 2: Freddy’s Revenge, this movie makes the second of the series look like Citizen Kane. This is a dream for that movie.
The clips that run through the closing credits. They remind viewers that Freddy Krueger had some good moments before this movie.
The story/script. The story was by Rachel Talalay and the screenplay by her and Michael DeLuca. Talalay had been working on the Nightmare movies since the first movie when she was an assistant of some kind. She worked her way up to producer and somehow convinced New Line to let her take control of this movie. In interviews on the 1999 DVD set, Talalay shows the same sort of stupid arrogance that Jack Sholder shows in his interview regarding Freddy’s Revenge. They blame this factor and that factor on why their movies sucked, and Talalay points that this was wrong and that was wrong with the predecessors and that her budget wasn’t good and the 3D gimmick was forced on her by New Line and….
Neither of the directors of the two failures of the series seems to want to shoulder the responsibility. Neither wants to cop to the fact that they are horrible storytellers, yet both have proven it with the movies they’ve done after Freddy’s Dead. Go to the IMDb and look. I’ll wait.
Back? Okay. The story gives us another revelation about Freddy: he was married and had a child! And it appeared that he lived in Nancy’s house at the time. And this house, which we’ve been following since 1984 (which seemed to have changed locations in 1988 when Kristen and her friends went to visit it), suddenly sprung a water tower behind it. Anyway, there’s a boy (Shon Greenblatt) who leaves Springwood and ends up in some city where the authorities place him in a home for troubled kids. In the hopes of fixing his amnesia, Dr. Maggie Burroughs (Lisa Zane) brings him back to Springwood, which we find has no children because Freddy got them all (although I think Roseanne Barr/Arnold/Barr and Tom Arnold ate them all), and…. Oh, it doesn’t matter. The story is a mess. And the math is off. Even when folks have tried to bring the timeline together in the expanded universe, it’s off and doesn’t make sense.
“I wanted this movie to have a more gritty and urban feel and a distinct visual style to it. What I tried to bring to The Final Nightmare was a real story,” Rachel Talalay said in an article from Fangoria (thanks, again, to The Nightmare on Elm Street Companion for this quote). If it was “a more urban and gritty feel” she was after, she failed. First off, the idea of A Nightmare on Elm Street was, I would think, the horrifying acts of suburban parents and how it comes back to haunt their children. For every action there is an opposite and equal reaction. Freddy kills suburban children, gets arrested, gets out of jail free. Suburban parents burn Freddy. Ten years later, Freddy comes back for the suburban kids–several of them coming from broken homes (most likely having something to do with roasting someone)–through nightmares. As far as her “distinct visual style,” Talalay’s direction is sloppy. There are hardly any transitions, neither in the story nor between clips. The camera seems to move when it should be still and is still when it should move. I think she wanted the 3D feel throughout the movie, even though it’s only at the end where the 3D comes in.
The acting is horrendous. It has, arguably, one of the best casts in the series when you look at it on paper. Lisa Zane had a name at this point in some independent movies and some B-movies, Brecken Meyer–who wasn’t known but was headed for an okay career, and the aforementioned Kotto. Yet, except for the two actors listed above in the Dreams section of this essay, none of the actors pulls it off. Shon Greenblatt, who plays John Doe, is the first person we’re introduced to and he’s terrible. He gets angry for no reason and overacts. His lines are given as naturally as pus being expelled from a pimple, with nastier results. And his character is stupid, and I use the term stupid, I don’t mean that I don’t like the character so he’s stupid, but that John Doe had the mental capacity of a sack of oats. I mentioned above that the math doesn’t make sense. John Doe is supposed to be a teenager and he believes that he’s Freddy’s child, but even a fourteen-year-old who was horrible at math (me) knew that he was too damn young to be Freddy’s child. Freddy was already toast by the time he was born. Meyer plays the spoiled pot-head with about as much skill as a rock. Luckily for him, Clueless and The Craft were coming up. Ricky Dean Logan as Carlos is okay, but isn’t great. He’s a deaf Hispanic kid who uses his disability to annoy those around him by removing his hearing aid to shut out their voices. And finally, Lisa Zane sleepwalks through the movie. Maybe she signed on before reading the script? I don’t know, but what a waste.
Robert Englund as Freddy. Freddy is a comedian in this movie, except he’s not funny. The acting is overdone, most of Freddy’s lines are shouted, the lines are just terrible, and silly pantomimes are used too often. Don’t get me started on the makeup, which is the worst makeup of the series. Freddy Krueger is the star but this movie is crap and he’s crap in it. The best parts in the movie with Freddy, funny enough, are when Englund is out of makeup, and he’s almost good in then.
Now don’t think I’m a hater. (Yes, I wrote that). Robert Englund is a classically trained actor and his portrayal of Fred Krueger in the original Nightmare elevated the character to great heights. But as I said in my last essay, the character, and his portrayal of the character, is too diluted. And even if it’s the editor’s/director’s fault for choosing the humorous takes over the scary ones, Englund holds some responsibility–there’s only so much you can blame on the editor. The very first time we see Freddy in this movie is when John Doe’s house is in the air and Freddy comes by with a black cape, pointed witch hat, and riding a broom. He shouts, “I’ll get you, my pretty! And your little soul, too!” I would think at that point, he must have had at least a leetle veto power.
The cameos. Roseanne Barr and Tom Arnold. Johnny Depp poking fun at the “This is your brain on drugs” PSAs that used to run and were already old when these culturally hip people put the movie together. Alice Cooper as Freddy’s adoptive father. Each one of these cameos cheapens the movie. They worked in The Muppet Movie but not in Freddy’s Dead.
The dream demons. These are horribly-done puppets/CG characters that float around and promise Freddy immortality and power in the dream world, answering the question: How did Freddy get his power? To me, he was scarier without us knowing. That’s the magic of the horror story: answers aren’t needed. The makers of Freddy’s Dead: The Final Nightmare disagreed and they give answers. As is so often the case, the answers are lame.
The 3D effects. Now, folks, I like some of the recent results of the new 3D craze. I think that digital 3D can be great and is fun for some movies (though I did feel it detracted from Avatar, which needed all the help it could get). Freddy’s Dead‘s 3D was almost twenty years before digital 3D and it was bad. It made a bad movie even worse.
The clips running through the end credits. Yeah, they were great to see on the big screen, but they only pointed out how horrible this movie was.
The Morning After
I put off watching this movie on DVD and actually skipped it last summer when I did my Nightmare-a-thon, but decided I should watch it when this kakameme idea came to post these little write-ups. Maybe, I thought (hoped), like Freddy’s Revenge, Freddy’s Dead would have some charm. Nope. It didn’t. At least the makers of the second one had the excuse that they didn’t realize how big Freddy and A Nightmare on Elm Street would become.
The movie makes me sad. With a little bit of thought, with a little bit of understanding, with a little bit of caring, even this movie could have redeemed the issues with the prior two movies. Instead, it felt like a big ol’ Fuck you to the fans. It was as though New Line Cinema, aka “The House That Freddy Built”, were laughing at the people who’d made them the company they had become, a company that would be bought by Time-Warner a few years later and would go on to make The Lord of the Rings.
The movie still feels that way. Of course, as an adult, I know that nothing lasts forever. There can only be a finite number of stories before you have to rethink something. The comic books have been doing that for seventy-five years with Superman, Batman, etc. Still, a television series like Lost proves that quality storytelling can be done in far more time than it takes to watch the entire Nightmare movies, if the story is told by people who care about the story they’re telling, and the audience who is receiving it.