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wonderfulworldofmichaelford · 3 years

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Psycho Analysis: Freddy Krueger

(WARNING! This analysis contains SPOILERS!)

One, Two, Freddy's Coming For You

Three, Four, Better Lock Your Door

Five, Six, Grab A Crucifix

Nine, Ten, Never Sleep Again...

It sure took me long enough to get to Freddy. I reviewed the remake version of Freddy in Psycho Analysis’s first year, and then in 2020 I reviewed Freddy’s brother in arms Jason Voorhees, so what took me so long to get to the original Springwood Slasher?

Well, the fact of the matter is I am incredibly lazy.

Anyway... Freddy Krueger is without a doubt one of the single most iconic slasher villains ever created. His ratty old sweater, fedora, and knife glove are all instantly recognizable, as is his distinctive burnt face. But what, exactly, is it that draws us into this unsavory slasher with the pedophilic undertones? Why is this guy still such a beloved character even after numerous mediocre sequels and a subpar reboot?

Motivation/Goals: Freddy in death is defined by the very goal he had in life: kill as many children as humanly possible. Freddy is simple in goal, but it’s the way he goes about it that’s fun. With his power to kill people in creative ways in their dreams, Freddy joyfully tortures and kills his victims in amusing ways, clearly enjoying every minute of it. Even as he gets goofier and goofier, to the point of playing a guy like an SNES game in one of his final films, it’s interesting that none of this really diminishes how horrifying the man is. He is so utterly devoid of humanity and empathy that he views the lives of children as a game to play… and his favorite part is making them hit that “Game Over” screen. As laughable as he ends up being in the tail end of the series, he never stops being monstrous and reprehensible.

Performance: Robert Englund just absolutely nails Freddy; the character wouldn’t be half of who he is without Englund’s fantastic acting chops. Englund knows just what to bring to the table for any given scene, from the chilling predator of the first film to the monstrous jokester of the third to the goofball with a serial killing streak from Freddy’s Dead. Even with the radical shift in tone the franchise underwent, Freddy never really felt inconsistent, and a lot of that is n the shoulders of how Englund portrayed him.

Final Fate: It depends on what movie you’re watching, but Freddy is always (seemingly) defeated, and unlike Jason there doesn’t really seem to be a total, definitive end for the guy. Sure, there’s The Final Nightmare, but as we all know putting “Final” in the title usually means anything but, and sure enough Freddy would cameo at the end of Jason Goes to Hell to do some very prolonged setup for the eventual Freddy vs. Jason, which comes afterThe Final Nightmare in the official timeline. And even though that film ends with Jason killing Freddy, his severed head still gives the audience a wink at the end, so who knows? Maybe Freddy’s still out there to this day, haunting Elm Street… Or maybe Ash Williams got him. There’s no clear, canonical answer, and with the franchise being dead after the reboot flopped, there likely never will be.

Best Scene: There are so many to choose from, because this man gets insanely creative with his kills. Tina and Glen’s murders in the first film and Phllip’s in the third are all incredibly impressive, but if I’m being honest, Freddy’s finest moment in the original series is his massacre of the pool party in the second film. “You are all my children now.” Brrrr. That line still gives me chills.

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Of course, counting Freddy vs. Jason, every single battle he has with the Big J is awesome, especially the ones at the end of the film. It’s hard not to feel the hype flowing through you as the biggest bad guys in horror duke it out.

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Best Quote: If you thought it would be literally anything other than “Welcome to prime time, bitch!” you’re dead wrong.

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Final Thoughts & Score: There is absolutely no doubt in my mind that Freddy Krueger is one of the greatest villains of all time and a true icon of not just horror, but cinema as a whole.

Think of how weird that is to say. This is the villain of an 80s horror franchise in horror’s least-respected subgenre who had about a half dozen sequels of declining quality, and yet he’s still one of the most beloved villains of all time. He has action figures, dolls, comic books, TV appearances, video games (both his own and crossovers such as Mortal Kombat and Dead By Daylight), a Fresh Prince song dedicated to him, a rap battle with Wolverine, numerous ripoffs and homages across media… It’s honestly astounding. This is why I would not hesitate to call Freddy one of the Big Three Slasher Villains. His influence across pop culture despite the odds being stacked against him is impressive, and the fact he still manages to be regarded as cool after whatever the hell happened with Freddy’s Dead is a testament to his staying power.

I think the main reason for his eternal iconic status is because Freddy sort of slid into this fun sort of evil that made him engaging, which is key to a slasher’s longevity. It’s hard to care about a killer murdering horny teens if they don’t have a discernible personality; this is why so many slasher films are forgotten duds and why the subgenre is lacking in respect. Freddy, though, is a character, he has a clear personality and goals, and Robert Englund manages to make him a blast to watch even when he’s being utterly reprehensible or when the films are absolute trash. Freddy can play with the Power Glove, puppeteer kids into jumping off buildings, try and possess a gay boy’s body, turn a girl into a roach, turn into a goofy CGI caterpillar, and fling Jason Voorhees around like a pinball because his unique powers give him the range to do it.

Freddy’s just the best kind of villain: one who is capable of being both fun and serious. The first and second movies have him be really dark and no-nonsense with only light black comedy, we get the perfect mix of wickedness and laughs in the third, and then he just steadily gets goofier and yet manages to remain at least a little terrifying with the sheer glee he has towards turning innocent lives into a game. He’s like Jigsaw, except without morals.

Sure, unlike Jason, the stuff in his backstory that gets added on like having a kid, getting his power from weird sperm demons, and all that is nonsensical at best and doesn’t add much to him (and honestly seems like it’s actively trying to detract from him), but it’s safe to say that Freddy is an 11/10. I’m sure he’ll be able to sleep well at night knowing he got the highest marks a villain can possibly get from me.

#Psycho Analysis #Freddy Krueger #Robert Englund #A Nightmare on Elm Street

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aion-rsa · 4 years

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How Dead by Daylight Gave Slasher Horror Icons The Game They Deserved

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If you grew up a gamer in the ‘80s and ‘90s, buying a bad licensed game was a rite of passage. Sure, even young gamers could detect a bomb like Home Improvement: Power Tool Pursuit! for the SNES from a mile away, but at a time before game reviews were easy to find online, it was natural to hope that the new X-Men game might just be good enough to take a chance on.

The situation was especially rough for horror movie fans. I owned the Nightmare on Elm Street and Friday the 13th adaptations for the NES and at least tried to finish them. It’s not that I thought they were good, but at a time when licensed horror games (not to mention major console horror games) were few and far between, the opportunity to face off against my favorite movie slasher was too enticing to ignore.

The industry eventually learned to embrace horror in a meaningful way that resulted in some all-time great gaming experiences, but the slasher movie icons of the day remained tragically underutilized. While original horror series like Silent Hill and Resident Evil expanded the storytelling potential of the medium, Chucky was reduced to starring in a Temple Run knock-off.

In the minds of many horror fans, the hope for a great game starring Micheal Myers, Freddy Krueger, or Leatherface lingered even as passable adaptations of those characters eluded us for decades. Where was the disconnect?

“I think it probably extends from the fact that they are two very, very different mediums and two very, very different ways of telling stories,” says Mathieu Coté, director of Behaviour Interactive’s hit slasher multiplayer game Dead by Daylight. “The reasons why slasher movies are so successful, and why they make you feel the way that they do, are extremely difficult to translate into gameplay mechanics. I think that probably that’s the root of it.”

The earliest examples of slasher movie games certainly support that theory. In 1983, adaptations of The Texas Chainsaw Massacre and Halloween were released for the Atari 2600. They offered wildly different experiences (Texas Chainsaw Massacre saw you mow down victims for points while Halloween was all about evading Michael Myers), but each was so bad that you’d sooner be caught smoking weed while having sex at Camp Crystal Lake than playing either for more than a few minutes.

Even as technology and game design advanced past what was possible on the Atari and NES, slasher icons were still being butchered in ways that would make these killers proud.

“It often felt as if [licenses] were either tacked onto an existing product that didn’t fit or it was just shovelware where the attitude is ‘make a thing and put the name on it,’” Coté says. “Oftentimes the people holding the licenses, and again it’s a matter of those two mediums being so different, but the people holding the licenses to the movies, they know about movies. They don’t know about games. That can make things difficult.”

With Dead by Daylight, Coté’s team sought to capture the essence of the slasher movie and translate that into fun gameplay that actually made sense for the genre. The asymmetrical multiplayer title sees one player assume the role of a killer tasked with eliminating four player-controlled survivors trying to escape the terrifying scenario. Since its release in 2016, Dead by Daylight has been embraced as the definitive horror multiplayer experience.

Given how difficult it has historically been to make a slasher title, much less one featuring licensed characters, perhaps it should come as no surprise that Dead by Daylight’s origins can be traced to a much simpler concept that didn’t even start out as horror.

“There was a designer working in basically a silo somewhere making little prototypes, and one prototype that he made at some point was literally hide and seek,” Coté remembers. “It was one character that’s trying to accomplish a goal and there was another character that was very powerful. If he touched you, you’re dead.”

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An equally simple tweak would reveal the prototype’s incredible horror potential.

“We put cardboard in between [split screens] and went ‘Oh, my God. This is super fun,” Coté recalls. “The idea of creating a game in which you could play the fantasy of being the villain in a horror movie, that’s a longstanding one…if we put that with the fantasy of a villain in a horror movie, we have a winner.”

The idea of pairing the basic structure of hide and seek with a horror movie villain shows team’s vital understanding of what makes the slasher genre so entertaining in the first place.

“A lot of effort is put into these [villains], so of course they’re more appealing,” says Dead by Daylight creative director Dave Richard. “I think that’s why we started rooting for them, and we have this enjoyment and guilty pleasure of rooting for the villain. I think that we all have this inside of us at different levels. We’re embracing this macabre thing.”

The team’s fascination with the macabre would slowly turn their experiment into a fully-fledged horror game.

“The original prototypes showed survivors as literally beheaded silhouettes wearing different colored t-shirts with phrases like virgin, stoner, and jock,” Coté explains. “That’s something that Cabin in the Woods did very, very well, and the early prototype was based on those tropes.”

While Coté and Richard reference meta-horror movies like Cabin in the Woods and mockumentary Behind the Mask: The Rise of Leslie Vernon as early inspirations that helped them contextualize the genre’s key elements, they ultimately turned to foundational films such as Halloween, Nightmare on Elm Street, Friday the 13th, and The Texas Chainsaw Massacre when crafting the game’s environments, characters, and other design elements. In those early days, though, few believed that Dead by Daylight would eventually host some of the stars of those films.

“There were dreams and ambitions, but I don’t think there were thoughts,” Coté says. “We barely expected it to break even after a couple of months. When it started to really explode in the first month or so, we started looking for opportunities.”

The earliest of those opportunities happened to involve arguably the most important slasher of all-time: Michael Myers.

“We were lucky enough to get in contact with some very nice people who are the owners of the original version of Michael Meyers,” Coté explains. “Being able to get the rights to bring in that character and the original Laurie Strode into Dead by Daylight was kind of a big deal. It set the stage because it legitimized us in a certain way.”

For anyone who has followed the history of licensing rights and copyright law (not to mention the aforementioned history of slashers in games), the fact that the team was able to add Michael Myers as a playable killer must conjure an image of a developer clawing their way out of licensing hell with one hand while holding on to Myers with the other. Yet, it sounds like the process wasn’t all that complicated.

“I wouldn’t call it [licensing] hell,” Coté says. “Most of it is actually super interesting, and most of the licenses that we have…we’re dealing with people who get what we’re trying to do. The people who are, as I was saying earlier, more into movies than into video games, tend to trust us to do the right thing.”

Securing Michael Myers was one thing, but now that they had him, the team was faced with the same dilemma that had ruined even noble attempts at building games around these characters in the past.

“We first had to ask ‘What is the fantasy around that character and what is so interesting and unique about these characters?’” Richard recalls. “Of course, most of them have a weapon and they kill, but what’s their special sauce?”

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As Richard explains, Freddy Krueger has a “dream world” and a “fantasy that’s easier to get.” By comparison, Michael Myers is often portrayed as a guy with a mask and a knife. How do you translate that into a game in a way that makes him feel unique?

The answer to that question came in what Coté rightfully describes as a “stroke of genius.”

“I remember that meeting where we were talking about Halloween and how to make [Michael Myers] unique,” Coté explains. “They pitched us the idea of a killer that would just watch you. We’re like, ‘What?’ They’re like, ‘Yeah, he’s just going to stand there and watch you,’ because that’s what Myers does in the movies. That’s what he does, but it’s an action game. People want to chase each other…We all thought, ‘Oh, you’re an idiot.’”

Yet, when Coté got the chance to actually play an early build of Dead By Daylight with Myers as the killer, he immediately understood what the team was aspiring to achieve.

“The very, very first version of the prototype I remember playing and repairing a generator and looking over my shoulder, and I see him standing on a hill and just watching me, and I go, ‘This is the creepiest thing I’ve ever experienced in this game,’” Coté says. “It’s super creepy, especially knowing it’s an actual other player right there. He could attack me right now, but he chooses to just watch me…that kind of thing made me realize the liberties we could take with the gameplay mechanics to really create something that would be unique and special.”

For the next few years, that’s exactly what the team did. They bent the rules of the game to incorporate other famous slashers. Freddy Krueger dragged Dead by Daylight players to dream world while Saw’s Amanda Young turned the game’s traps into a gambling proposition. Leatherface’s devastating attacks impacted a survivor’s ability to carry on and Ghost Face’s playfulness and humor distinguishes him from one of his major inspirations, Michael Myers himself. Through it all, the team’s goal was to stay true to the legacy of these characters and give them a proper home.

“I love Mortal Kombat, but whenever a character gets imported to Mortal Kombat, they all turn into martial artists,” Coté says. “When you put Jason in Mortal Kombat, he becomes a martial artist and he hacks people, and then he does a finishing move and it’s awesome, but that’s it. When you take Michael Myers and put him in Dead by Daylight, he’s Michael Myers.”

Of course, Dead by Daylight’s roster of killers doesn’t just include an array of adaptations. At launch, the game boasted three original killers: The Trapper, The Wraith, and The Hillbilly. The Trapper was, by the team’s admission, based on Jason Vorhees and The Hillbilly certainly resembled Leatherface. It was in The Wraith, a desperate figure whose pursuit of a job saw him become an unwilling executioner, that the team found their first truly great original creation.

“For us, it was important that one of the killers was inspired by more of a cultural idea, and that was The Wraith,” Richard notes. “You don’t see The Wraith archetype in movies. It really comes from horror culture and cultural monsters more than movies.”

That desire to explore every corner of horror rather than just retread film successes is a big part of the reason why Dead by Daylight’s original killers are among its most popular. In fact, the team draws inspiration from such a wide array of sources that it’s possible some players may feel the impact of these original creations more intensely than others.

“The Huntress is heavily inspired by Eastern European folklore and mythology,” Coté says. “For some of our players, especially Russian and Ukrainian players, they were immediately, completely freaked out because she’s humming a song that their mothers sang to them when they were a kid. It was really like it hit way too close for some of them, and it was great. It made them feel things, but for Japanese players or Brazilian players who had no cultural link to that, it was still an impressive and terrifying character because what scares people is visceral and universal”

While Dead by Daylight’s original killers stand tall against horror’s heavyweights, the game’s most impressive contribution to the slasher genre may just be its emphasis on the personalities and attributes of its survivors. Early builds of the premise portrayed survivors as Merrily We Roll Along rejects wearing self-identifying sweaters, but the game eventually began treating survivors with the same reverence as killers.

“Survivors have been the learning experience, to say the least,” Richard confesses. “When we created the original characters, we wanted them to have real stories and personalities, but also to be relatable. I’m going to say a word I don’t like so much, but it’s almost like they’re shells that the players can identify with and easily become.”

Dead by Daylight’s emphasis on the unique qualities of its survivors helped it outlive (pun proudly intended) other asymmetrical multiplayer games, but even Behaviour Interactive found itself having to reckon with some of the stereotypes that plague even the best slasher movies.

“The fact is that a lot of those [early character designs] are stereotypes that convey, let’s say, cultural tropes that don’t need to continue to exist in today’s society,” Coté admits. “For us, it was more interesting to create characters that feel like someone you could stand behind in a coffee shop and not blink because they’re regular people. They’re people you can relate to.”

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While Dead by Daylight’s roster of survivors features a few imports (such as Halloween’s Laurie Strode and Evil Dead’s Ash), the team reveals that “licensed survivors are much harder to find than killers,” largely because they still want the game’s survivor’s to feel overwhelmed by the stalkers. Coté specifically notes that it wouldn’t make sense for someone like John Wick or Arnold Schwarzenegger to be hanging helplessly from a hook. Yet, they also don’t feel like the legacy and value of a horror hero should be defined by their ability to play offense.

“All of them are serial survivors,” Coté says of the game’s characters. “They continue to win, which is impressive, given the challenges they face.”

Besides, as millions of fans who have shouted at the screen at a horror film can attest to, the fates of Dead by Daylight’s survivors really come down to the players themselves.

“We always wanted to make it so that if you die in Dead by Daylight, it’s because you did something dumb or you panicked and didn’t stick to the plan,” Coté says. “Obviously the killers are extremely powerful, but most of the time [survivors lose] because someone panicked or was careless and got cocky and didn’t make good decisions.”

The ability to test your mettle against a slasher legend is one of Dead by Daylight’s more interesting examples of meta brilliance, but its most notable meta mechanic is the presence of The Entity, the invisible hand that pulls characters from different horror universes into the game. It’s a subtle, yet vital, story component inspired by another horror legend.

“The main inspiration for The Entity was actually The Dark Tower,” Richard recalls. “Many of us on the team are fans of the work of Stephen King, and when we deep dove into The Dark Tower, it was a favorite. The way every book in the Stephen King universe links together and is tied up with The Dark Tower was the inception of the idea of The Entity.”

The Entity is the core component of the game’s surprisingly strong lore, which not only offers compelling backstories for nearly every survivor, setting, and killer but even adds a few new chapters for licensed universes like the Scream series.

In many other multiplayer games, that lore would be little more than an easter egg debated over on Wiki pages and fan forums. But in Dead by Daylight, the commitment to meaningful storytelling is a core component of the ambition which defines Behaviour Interactive’s mission.

“Every time we create more of our lore, we solidify what Dead by Daylight is and the universe around it,” Coté explains. “It’s not just to be able to bring in anything, but to be able to create a universe into which all of these things can exist and make sense.”

While the team’s commitment to lore may help bolster their pitches to rights holders, their commitment to ensuring that Dead by Daylight’s growth adheres to an internal logic also speaks to the team’s confidence that they can give nearly any slasher a home.

“I’d say that a few [killers] still elude our grasp, and it’s mostly due to the fact that someone thinks they can make a standalone game for them, or they are working on one,” Coté says. “Anybody who’s got a little bit of experience in video games can tell you that recreating the magic of Dead by Daylight and that sort of balanced chaos is a terrifying prospect. It’s certainly not a simple thing to recreate.”

There’s a sincerity to that statement which encapsulates so many of the reasons why Dead by Daylight was not only able to secure slashers and survivors who could easily star in their own games but do justice to them within the framework of an experience that wasn’t designed to accommodate those legends in the first place.

After all, if the bad old days of slasher games and adaptations were defined by limitations and indifference, then Dead by Daylight succeeds because it takes nothing for granted. Its team carefully crafted a scenario that invoked the pure pleasure of the slasher genre and then spent years studying the ins and outs of these characters and worlds in order to better understand what makes them work beyond the superficial pleasure of their mere presence. It’s an involved process that doesn’t work for everyone.

“We’ve had a couple of cases of people on the development team that, maybe after a year or something, they go, ‘You know what? I think I’ve had enough.’” Coté admits. “Especially 3D artists who keep looking at references of grizzly things all the time, and most of them, they’re just having a blast…but I’m thinking of one or two examples of people who were like ‘You know what? I need to go and work on something with unicorns and kittens.’ That’s fair. That’s absolutely fair.”

The amount of work that goes into a game like Dead by Daylight may ultimately scare off other developers who would dare give legendary slashers their own games, but as long as we have Dead by Daylight, at least a few horror icons will always have a home.

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“It used to be that we were hoping that people who hold the licenses to these legends would allow us to bring them into our world,” Coté says. “Nowadays, the conversations oftentimes revolve around asking them if they’re big enough to make it into the hall of fame that is Dead by Daylight…It’s the place for horror to come by and live.”

The post How Dead by Daylight Gave Slasher Horror Icons The Game They Deserved appeared first on Den of Geek.

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nathanscovell · 7 years

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Friday the 13th in October! You couldn’t ask for a better month for such an evil day. That’s why we’re sharpening our machetes and kissing our mothers severed head so long as we review the Friday the 13th series! Hold on to your nuts because we’re breaking down a crap load of horror films for one single day. Man I’m so excited to watch every Friday the 13th film over again. I haven’t done this since I was a teenager! It’s going to be EPIC! Jason is so cool. Slicing and dicing his way through all these people! Jason is the most recognizable villain of all time and his movies are the longest running horror series so how can it be bad? Look at all these movie posters!

JUST LOOK IT THEM ALL!

Take it from Michael Bay, if you have something good (or just marketable to stupid children) then you just make it over and over and over and over again. No matter how many times people cry ‘stop!’

Oh yea, be mindful of the progression of plot changes for each movie. After I awoke in the hospital after watching all of them. I finally remembered what they’re all about. It took a while, but it all came back to me. Let me tell you something, the Friday the 13th films have some serious drug users writing their scripts.

Friday the 13th – 1980

In the peaceful campgrounds of Camp Crystal Lake, young counselors are preparing for a long summer. Little do they know that terror lurks within the woods, seeking the right opportunity to slaughter and punish those seen guilty!

Killer is Pamela Voorhees, not Jason Voorhees.

Friday The 13th Part 2 – 1981

Five years after the slaughter of Camp Crystal Lake, a neighboring camp is prepping for the summer. With the bloody events and the memory of Mrs. Voorhees just fire side chats; it seems that this summer will be one to remember.

Jason appears wearing a burlap sack instead of a hockey mask. Does not use the machete.

Friday the 13th Part 3 – 1982

A day after the events of part 2, Jason Voorhees escapes and is wondering Crystal Lake, killing and surviving. Jason soon comes along a group of friends staying in a vacation home named Higgins Haven. This will be one vacation of blood splattering 3D slaughter!

The iconic image of the machete wielding hockey mask Jason finally appears. Also, more creative and brutal deaths. Not centered at a summer camp.

Friday The 13th – The Final Chapter – 1984

It’s summer and the all girls camp, Camp Walden is underway! Which means fun, excitement and personal discovery. But for our young red head girl Annie; this summer will be more than she bargained for. Forced to spend the rest of the summer with another girl named Jason Voorhees the two who were once enemies discover a friendship far greater than just friends. Annie and Jason are sisters! Twin sister to be precise. Discovering of their parents divorce; it’s now the mission of these two ladies to bring their love torn parents back together! Join us with spectacular fun and a rip roaring Disney grandpa humping good time with Friday the 13th Part 4!

Friday The 13th – A New Beginning – 1985

Convicted for a murder he did not commit, Jason Voorhees will remain the rest of his days as a prisoner in Shawshank prison. His only friend, an Asian African American Jewish Rabbi woman named Pedro. Pedro is Jasons one source of power to fuse the the alternate dinosaur dimension and our very own together. But first he has to get rid of those pesky plumbers! But before that they must kill the chosen one that would bring balance to the force! Once more the sith will rule the galaxy and Jason Voorhees will become the next Captain of the SS Enterprise. With the use of a magical asteroid stone, Jason will gather all his strength and resources to correct the wrongs of society and bring justice once more to the people of Eternia. I HAVE THE POWER!! Rated PG-13.

Friday the 13th – Jason Lives – 1986

Jason Voorhees must carry the ring of power to mount Sinai and battle a crazed Charlton Heston with a sword made of Nerf! With the help of his handicapped brother Lloyd Christmas; Jason will sacrifice everything in order to help keep his altimeters stricken wife happy. It seems reading from a personal journal to her every day really doesn’t mean anything when the bitch can’t remember jack! Join in the action and adventure as Jason embarks on a ride across a barren wasteland to bring a group of hot teens freedom from their over possessive Mormon dictator husband Immortan Joe. Rated PG-13.

Friday the 13th – The New Blood – 1988

A girl named Tina that happens to be a witch, helps break out her little brother Jason Voorhees from a mental institution. Tina discovers that Jason is a Nintendo prodigy and they go to California for Jason to compete in a NES championship for a new awesome NES game titled Friday The 13th! Headed across the country Tina and Jason embark on many adventures and bond! Maybe even healing with the help of each other. Join us for this family friendly romp! Rated R for sexual content.

Friday the 13th – Jason Takes Manhattan – 1989

Jason Voorhees and his team of muppets have just graduated from college. Armed with enthusiasm and hope, the team decides to take their musical Manhattan Melodies straight to Broadway. Our friends are going to be stars! But being a hit on Broadway isn’t as easy as one would think. Lots of sexual frustration and static electricity. Things are a giant mess! Especially for a machete toting killer, frog, pig, bear and whatever Gonzo is. Join us on this family friendly musical! Rated PG.

Jason Goes to Hell: The Final Friday – 1993

Jason Voorhees has finally died due to a police unit hellbent on ending his reign of terror. Ahh, poor Jason. But guess what Jason is going to heaven where his son has turned into a black guy and things look and feel like a painting. But wait, Jason’s wife isn’t there and she died years ago. Oh no, we didn’t mention that suicides go to hell (not really hell, just a place you exist for eternity that reflects the feelings of your soul). Jason must travel back to the physical realm and find a body to control in order to free his wife. Join us on this spiritual journey of self reflection. Rated PG-13.

Are we done? Y-y-y-y-you mean there aren’t anymore?

WOM-WOM-WOOOM, WOM-WOM WOM WOM WOOOOM.

WHAT!? Two more films? There’s really two more Jason films? Oh please no! Tell me it’s not true!

WOM WOM WOOOOM, WOM WOM.

Wait, what’s that? I don’t have to watch them? You mean the 2009 one and that Freddy Vs Jason films don’t count! Oh thank God. Thank you so much mam.

WOM-WOM.

I love you too Charlie Brown teacher.

WOM WOM WOM!!!

I don’t mean love as in, “hey teacher let’s bang” I mean like a motherly kind of way.

WOOOOM.

Ok, so things got a little cloudy there for a while. I don’t know where my head was. I kept slipping in and out of consciousness and I had this weird Charlie Brown universe dream going on. I don’t think I can ever do another Friday the 13th marathon anymore.

So as you might have guessed after part 3, the series started taking a dive in quality. The stories were always the same and with very little plots. I guess the main purpose of the films was to show people dying in brutal ways. However, I will say that being a fan of Cabin in The Woods does put Friday the 13th into a new perspective. The stories are all the same but it’s all a part of a great ritual that keeps the old evil gods dormant. Jason is just fulfilling the duty man!

I actually do like the first and second films. The POV camera got a little annoying after the first few kills. But the third one seemed to get rid of it. I also find it interesting how Jason Voorhees isn’t even in the first film. The killer is his mother and she’s seeking sweet justice. Jason finally comes in part 2 and he’s wearing a burlap sack over his head.

By the fourth film, The Final Chapter; things just seemed to get boring. Unless you consider Crispin Glover dancing to be awesome.

From what I heard, he was actually dancing to an ACDC song “Back in Black.” Which gives reason to his insane moves. But to be honest, I played that song at the same time he was dancing and he still looks ridiculous. I will admit that Glovers death is hilarious.

Part 5 is more a psychological movie. Jason isn’t even in the film. Turns out the killer was a father of a Jason victim. He just took the mantle of killing these teens that he blamed for his kids death. It’s literally a recycling of the first film. It may have tried to take a fresh approach but it was boring to watch. Plus John Shepherd who plays the grown up Tommy is the worst actor I have seen in any Friday film.

You see that face, that’s his face the entire movie. He’s like a male version of Milla Jovovich from the crappy Resident Evil movies. Yea, she sucks in those and the movies are all garbage! She has an expression of a broken toilet!

Seriously, I don’t really have to say much about the other films because they’re all the same. Jason Takes Manhattan is a laugh fest of stupidity. Am I to believe that Jason awakens from the depths of Camp Crystal Lake, boards a cruise ship. Which then sinks in the New York Harbor!? WHO IN GOD’S GREEN EARTH CAME UP WITH THAT!!

I will say that Jason Goes To Hell is actually not all too bad. It kind of abandons the fornicating drugged up teens and gives the entire premise to Jason a more supernatural and solid ground. There’s actually a story involved that has structure and purpose. There were actual parts to this film that seemed less “slasher” and more monster.

It seems that this demon living in the body of Jason is what keeps him alive. But without the body this demon has to live within a host. Its not until it’s met with the blood of a Voorhees that Jason’s original state can be brought back. It’s actually a point A to point B kind of story. Yea, it still sucks but at least it’s something!

So on this Friday the 13th, let us all appreciate Jason Voorhees. Let us all watch the first three films. If you’re brave like me, go ahead and watch every movie and then jab a pen in your temple like I did.

Day 13 for HMM we're getting honest with Friday the 13th! Friday the 13th in October! You couldn't ask for a better month for such an evil day.

#Friday The 12th Part 4 #Friday The 13th #Friday The 13th A New Beginning #Friday The 13th Jason Lives #Friday The 13th Jason Takes Manhattan #Friday The 13th Part 2 #Friday The 13th Part 3 #Friday The 13th The Final Chapter #Friday The 13th The New Blood #HMM Day 13 #Horror #horror movie #Horror Movie Review 2017 #Jason Voorhees #Nathan Scovell #nscovell

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