Monthly Archives: April 2012

In Conclusion: 10 Final Thoughts on The Friday the 13th Franchise

Posted on by Lisa Marie Bowman

Over the previous two weeks, I reviewed all 11 films in the Friday the 13th franchise.  I reviewed the final film, appropriately enough, on Friday the 13th.  Now that I’ve sat through all 11 of these films, I’d like to provide just ten thoughts in conclusion:

1) Have you seen Cabin In The Woods yet?  While that brilliant film is obviously influenced by a lot of films, the Friday the 13th influence was especially obvious, right down to the crazy old man trying to let everyone know that they were doomed.

2) As for the Friday the 13th franchise itself, what is left to be said?  I think my interest in these films comes from the fact that even though their critically reviled and utterly dismissed by many, they’ve managed to survive and they’re still being watched by viewers (like me) who weren’t even born and/or weren’t old enough to see the majority of them when they were first released in theaters.  Like it or not — and again, this is a point that should be obvious to anyone who truly appreciated Cabin In The Woods — these films appeal to something primal in human nature.

3) The most frequent complaint made against the Friday the 13th franchise is that the films are anti-female.  I don’t agree.  I think that, unfortunately, a lot of people who watch these films are anti-female but I don’t think that the same can be said of the films themselves.  Quite frankly, if I was ever cast in Friday the 13th, I would rather play a victim than a survivor because the victims are the ones that are remembered afterwards.

4) Instead of seeing the Friday the 13th films as some sort of attempt to punish women, I see them as simply being updated bits of American folklore.  Those famous urban legends — the escaped mental patient with the hook hand, the vanishing hitchhiker — are about as close as America can get to having its own mythology and the Friday the 13th franchise (and similar horror films) are a reflection of that mythology.

5) Much like the scary story told at slumber party or around a campfire (not that I’ve been near a campfire though I have been to a few thousand slumber parties), Friday the 13th is meant to be a communal experience.  It’s a chance to admit that we’re all scared of the dark.  We scream and jump because, ultimately, it’s fun to do that in the safety of a theater or your own home.

6) Friday the 13th, as a franchise, was at its best when it kept things simple.  As you may have noticed from my reviews, I struggled more with the gimmicky later films in the series than I did with the originals.

7) The first two Friday the 13th scenes are both excellent examples of how to use a low budget and a largely unknown cast to your best advantage.  There is a lesson there for all aspiring filmmakers.

8) Having now rewatched the 11 films in the franchise, I have to say that I think that Part 4 is the best, followed by Part 2.  Part 3 remains the worst while Jason Takes Manhattan is perhaps the most pointless.  Ted White was the best Jason but Kane Hodder is a close second.

9) When I was reviewing these films, Peter M. Bracke’s book Crystal Lake Memories proved to be an invaluable resource.  I highly recommend it to anyone who is interested in film, horror, or both.

10) Finally, did you all enjoy me devoting two weeks to reviewing one film franchise or were you thinking to yourself, “Oh my God, Lisa, give it a rest already!”  I enjoyed writing them but, to be honest, I’m really in the mood for a romantic comedy now.

Well, that does it for Friday the 13th.  Again, I hope everyone enjoyed revisiting this franchise with me and I hope that everyone will enjoy revisiting the James Bond films with me in October.  As always, stay supple!

Quickie Review: The Cabin in The Woods (dir. by Drew Goddard)

Posted on by Arleigh

“If you hear a strange sound outside… have sex.”

If there was one thing the meltdown and subsequent bankruptcy of MGM ended doing it was shelving the Drew Goddard and Joss Whedon horror film The Cabin in The Woods for almost three years. The film was directed by Goddard who also helped co-write the screenplay with Joss Whedon and what we get is one of the smartest and most innovative horror films to come in over a decade. For fans of the tv shows Buffy: The Vampire Slayer and Angel (not to mention Dollhouse) this horror film just reinforces the notion that Joss Whedon knows how to write smart dialogue and premises without ever getting too self-referential and deconstructionist (I’m looking at you Kevin Williamson) or too smart-talky (a stank-eye at you Aaron Sorkin).

There’s really no way to properly review The Cabin in The Woods without spoiling the films many different surprises and twists and turns. I will say that the film does a peculiar opening that focuses not on the five college students headed to the cabin in the woods of the film’s title, but on two men (Richard  Jenkins and Bradley Whitford) in your typical office attire doing the walk and talk about family home life and the like. We see that they’re technicians in an unnamed industrial facility that wouldn’t look out of place in one of the many governmental facilities we often see in film. The film will return to these two men and their facilities and other people working within often in addition to telling the story of the five college students and the growing danger they find themselves in as night falls in the woods.

To say anymore would definitely be a spoiler.

I will continue on and say that for a horror film written to self-reference other horror film conventions and tropes what Goddard and Whedon have ultimately done was celebrate the genre itself and how much of an impact it has had in society. Unlike films like the Scream franchise, The Cabin in the Woods doesn’t knowingly wink at the audience about how cool it is for pointing out all the horror cliches and stereotypes we’ve come to expect in the horror genre. Instead the film actually treats its audience to be smart enough to see the homage to past horror films both good and bad without ever drawing attention to the fact that they’re pointed out.

Another thing which makes this film so fun to watch is how much every character in the film comes across as fully realized individuals. Even the college students who we first think of as your typical horror film stereotypes (the jock, the slut, the virgin, the brain and the stoner) end up being more than we’re led to believe. All of this actually occurs right in the beginning and this helps the audience join in on the fun that both Goddard and Whedon are having in turning the horror genre on its head right up to it’s surprising conclusion. It helps that the cast did quite a great job realizing their characters. As the film progresses we even begin to get a sense that who the villains in the film may or may not be who we think.

There’s a sense of fun and the darkly comic to the film as well. Every one-liner and comedic beats we get throughout the film doesn’t have a sense of the cynical to them. It comes across through dialogue and actions by both groups in the film in such a natural way that they never make those saying the lines break the fourth wall. Most films that try to deconstruct genre films tend to get too cutesy with the breaking the fourth wall gimmick that the audience can’t help but be pulled out of the suspension of disbelief they’ve put themselves in. This has a way of making such genre films less fun and celebratory and more of making fun of the people who enjoy such things.

The Cabin in The Woods manages that rare accomplishment of being a horror film that retains not just the horrific aspect of the genre but also add such a darkly comic sense to the whole proceeding with such a deft touch from Goddard and Whedon that we don’t know whether to call it straight horror or a horror-comedy. Some might even see the film as an entertaining treatise on the nature of the horror film genre of the last quarter-century. Both Goddard and Whedon have already called this film as their answer to the current trend of the “torture porn” that was popularized with the help of such recent horror franchises like Hostel, Saw and those made by Rob Zombie. Where those films celebrated the concept of inflicting pain not just on the characters on the screen but those who watch them with The Cabin in The Woods we finally get a reminder why we love the horror films of the past. It’s through the sense of that adrenaline rush that a tension build-up leading to a horror money shot but without becoming overly gratuitious and reveling in the pain of the horror.

Some have said that The Cabin in The Woods is the best horror film of 2012. I won’t even argue with that statement since it is true. I will put it out there that Cabin in The Woods might just be one of the best films of 2012. The film is just that fun, smart and, overall, just plain awesome.

[I usually attach a trailer to reviews but this time doing it could spoil some of the surprises in the film]

Lisa Marie Finds Herself On Lockout (dir. by James Mather and Stephen St. Leger)

Posted on by Lisa Marie Bowman

This Friday saw the release of two new genre films, The Cabin In The Woods and Lockout.  As you may have heard by now, The Cabin In The Woods is one of the best films of 2012.  But what about Lockout? 

Well, let’s just say that it’s no Cabin In The Woods.

Co-written by Luc Besson, Lockout takes place in the 2079.  The world is pretty much exactly the same  as it is right now with the exception of the fact that there’s a big space prison orbiting the Earth.  The prisoners — who we’re told early on “aren’t here for traffic violations” — are kept in a state of suspended imagination.  Though the process apparently has the side effect of making the prisoners even more psychotic than before, keeping the prisoners in “stasis” also keeps the prison relatively peaceful.  However, as usual, lefty do-gooders are concerned as to whether or not “stasis” is humane and they basically end up ruining the whole thing and getting a bunch of people killed. 

While the president’s daughter (played by Maggie Grace of Taken and Lost fame) is visiting the station in order to investigate whether the prisoners’ rights are being violated, the most psychotic prisoner is revived so that she can interview him.  Why they would select this prisoner — out of the 400 that they have — to wake up is anyone’s guess.  Anyway, this leads to that prisoner escaping, all the other prisoners waking up, and the president’s daughter being held hostage.

Who can save her?  Well, how about a surly and disgraced former CIA agent named Snow (and played by Guy Pearce)?

The main problem with Lockout is that, with the exception of few welcome moments, it’s never quite as fun as it should be.  This is a film that opens strong (with a witty interrogation sequence and a thrilling chase scene) but it’s almost all rapidly downhill from there as the film fails to come up with anything to match the excitement of the first five minutes.  The space prison, itself, is well-designed but the prisoners within are a pretty bland and predictable bunch and they make for boring villains.  (The one exception is Joseph Gilgun as a half-blind, gleefully insane maniac named Hydell.)  Maggie Grace made for a perfect kidnapping victim in Taken but she’s a lot less convincing here.  Listen, I’m about as independent as you can get and I’m proud of it but I can guarantee you that if I was trapped in a prison and surrounded by potential rapists, the last thing I would do would be to give attitude to the one guy who has been sent to rescue me. 

Especially if that guy was Guy Pearce!  Seriously, this film has its flaws but Guy Pearce is not one of them.  Whether he’s telling off his superiors and informing Maggie Grace that she’s on her own as far as getting off the space prison is concerned, Pearce is pure surly sexiness.  Ultimately, Lockout works best as a showcase for Pearce and he makes the most of it.  He looks good beating people up, he’s a better actor than Jason Statham, and he’s got a sexier voice than Ira Glass.  He’s such a charismatic animal that, if he hasn’t played Stanley Kowalski in a production of A Streetcar Named Desire yet, somebody better hurry up and cast him.

Seriously.

6 Trailers To Keep Things Cheerful

Posted on by Lisa Marie Bowman

After spending two weeks researching the career of Jason Voorhees, I am in the mood for some movies that feature absolutely no one getting brutally murdered. That’s why this edition of Lisa Marie’s Favorite Grindhouse and Exploitation Trailers is dedicated to some of the most light-weight comedies ever made. 

(Yes, I realize that these films aren’t exactly grindhouse films but they’re close enough.)

1) Making the Grade (1984)

This trailer almost feels like a parody, doesn’t it?  In fact, it very well could be.  Has anyone ever actually seen this Making the Grade movie?

2) White Water Summer (1987)

This is a weird movie that, for some reason, tends to pop up on TV every few months or so.  Kevin Bacon is a nature guide who appears to be sociopath and Sean Astin is the kid that he bullies nonstop.  Eventually, Bacon breaks his leg and Astin saves his life or something like that.  The whole movie just has a really weird feel to it.

3) Private Lessons (1981)

These next three trailers form a trilogy of sorts.  We start off with Private Lessons, which — let’s be honest — is a pretty creepy trailer.

4) Private School (1983)

The 2nd part of the private trilogy was directed by Noel Black who also directed one of the best films of the 60s, Pretty Poison.

5) Private Resort (1985)

And then we come to this…Private Resort.  Much like White Water Summer, Private Resort used to always show up on Sunday afternoon TV and I’ve never really understood why.  That said, I watched it a few times because I’ll watch Johnny Depp in anything.

6) Fraternity Vacation (1985)

And finally, let’s wrap things up with Fraternity Vacation, starring future Oscar winner Tim Robbins.

AMV of the Day: A Little Late

Posted on by pantsukudasai56

Usually Arleigh handles this sort of post.  And he did just post one yesterday, so I’m glad he’s taking up the slack that I’ve made.  I mean, ostensibly I was brought on board to handle all things anime.  Anyways, for once I’m actually going to post up something anime related.

Let me say this about this video.  I’m as manly as manly gets.  I kiss puppies and kick babies.  Kill the women and children first!  But even this video brings me to tears.  Funny story, I was sitting in Burger King today, this song started playing over the speakers, and scene for scene I could recall this AMV.  Heck, you don’t even have to be familiar with this anime to get the emotional impact (ef – a tale of melodies.  Watch it now!)  But you know, it really wouldn’t hurt you to watch both ef- a tale of memories and ef – a tale of melodies (didn’t I just mention that?  Yes, yes I did).  Both would help you get the full impact of this AMV.  But either way, can you really watch this video and not feel anything?  If so, then you’re a stronger man than I.  And since there is no stronger man than I, then you are a liar.  And since you’re a liar, no one cares what you think or say!  My logic is flawless.  Enjoy the video!  Full credit goes to Dragon Roy and the AMV contest at Anime Boston.

Anime: Ef – a tale of melodies

Song: “You Found Me” by The Fray

Creator: Dragon Roy

Grindhouse Classics : “She Freak”

Posted on by Ryan C. (fourcolorapocalypse)

Okay, so it’s not Herschell Gordon Lewis — but 1967’s She Freak is pretty close, at least in terms of style and tone (if not gore content — the only blood on display here is in a very brief screwdriver-through-the-hand moment that frankly isn’t even nauseating) , and why shouldn’t it be? After all, it’s the “brain”child of HGL’s old producing partner, the legendary David F. Friedman, and definitely has a Lewis-like bizarre-on-a-budget sensibility. Oh, and it’s also available on DVD from Something Weird Video (nice full-frame transfer, acceptable mono sound, extras include a feature-length Friedman commentary, a gallery of exploitation art, some SWV trailers, a couple of tangentially-related shorts, etc.), the label that handles more or less all of our guy Herschell’s stuff, so — yeah, there are some similarities, to be sure.

Unfortunately, it’s even closer to Tod Browning’s seminal exploitation classic Freaks — not that there’s anything wrong with Freaks, mind you, and if you’re gonna rip something off  I suppose you might as well rip off one of the all-time greats, but anyway, read on and my use of the term “unfortunately” will, hopefully, make sense. In point of fact,  to call She Freak a rip-off is probably being a little too harsh, since even though it pretty much tells the exact same story as Freaks, it does so from the point of view of the gold-digging damsel rather than her victim. So maybe it’s more a case of an inverse carbon-copy. Which still means it’s nothing too earth-shatteringly original, but I digress.

Our story here revolves around one Jade Cochran (Claire Brennen, who bears a rather uncanny resemblance to latter-day Russ Meyer starlet Pandora Peaks minus the surgical — uhhhmmm — “enhancements”), a simple country girl who commits the cardinal exploitation movie sin of wanting something better out of life (of all the nerve!), and isn’t afraid to step on a few toes on her climb to what passes for “the top” in her admittedly limited worldview. At the outset of our little shot-around-Bakersfield-for-$65,000 morality play, Jade’s slinging hash as a waitress at the greasiest of greasy-spoon diners, but when an advance man for a traveling carnival comes though one day, she has the temerity to ask him if there’s any work for a gal with no experience,no skills, no education, but a pretty nice pair of legs in his merry troupe. He tells her to stop by and see the owner of the show after they get the tents set up, she tells her lecherous married creep of a boss to go to shove it (granted, after he fires her first and tells her she’s headed straight to hell — he’s a real charmer, this guy) and the next day she shows up at the box office and quickly finds herself employed — as a waitress (again) at the carnival snack truck. Step one on the road to world domination achieved, I guess.

It’s not long,  though, before our gal Jade really does start her hardscrabble climb up the carnival ladder. First she gets in good with a gal named “Moon” Mullins (Lynn Courtney), the closest thing to a stripper the show employs. “Moon” makes Jade the kindly offer of letting her shack up with her in her motel room while she’s in town, and before you know it Jade’s pestering her for the names of any single men with potential attached to the show. Jade’s already taken a liking to a fella named Blackie Fleming (Lee Raymond), who runs the Ferris wheel, but “Moon” lets her know there’s no future in getting mixed up with lowly ride operators and suggests that Jade should set her sights on Steve St. John (Bill McKinney), the well-to-do widower who owns the freak show — why, he’s even got a house in Tampa!

Jade takes her gal-pal up on her advice and soon begins courting her prey  over coffee and donuts every morning at the snack truck. Cut to a montage of rather listless-looking dates than play out sans dialogue and show our supposed lovebirds going out to dinner, riding around town in his car, and walking around the carnival a whole hell of a lot (when you add in all the extraneous footage of carnival set-up and tear-down activities also included in this flick — hey, Friedman had an “in” with a carny operator and wanted to get his money’s worth — you begin to see why even at a slim 83 minutes plenty of people refer to it as being “padded”) and presto!, before you know it,Ms. Cochran is now Mrs. St. John.

There are, however, a couple of pesky problems she can’t seem to run away from. One is the freaks themselves. We never actually see any of them (until the very end, and I’m sorry to report there’s not a real “freak” in the bunch — they’re all extras in makeup and cheap prosthetics), apart from a garden-variety midget named — amazingly enough — Shorty (Felix Silla),  who seems to have a penchant for following his boss’s new lady-love around, but she makes it clear that she can’t stand the sight of them and that they creep her the hell out. Steve indulges in some painfully wooden dialogue about how they’re his friends, they’re people just like you and me, he’s not exploiting them he’s giving them a chance, etc., but it’s no use. She just doesn’t care for their kind.

Her second (and larger) problem, though, his Blackie. He gives it to Jade rough-and-ready and that’s just how she likes it. In fact, she can’t seem to keep away from the guy. One night the always-underfoot Shorty spies her sneaking out of Blackie’s trailer, and when he tells his best-friend/boss about it, all he gets is a slap in the fact for his trouble. Yes, it appears as though Steve’s truly got rose-tinted glasses on when it comes to looking at his new bride, but when he gets “home” to their motel room (we never do get to see that palatial Tampa estate) and finds Blackie on his way out the door and Jade with a big smile on her face, he knows he’s been had. A fight ensues, Steve gets stabbed, Jade stands above him without lifting a finger to help and then turns her back on him as he dies, Blackie flees into the night,  is caught by the cops, confesses, and goes to jail —and now the freak show is Jade’s property, free and clear.

For the next five minutes or so we see Jade in her new incarnation as super-bitch of the midway — she drives her big Cadillac around recklessly, tells “Moon” to take a hike, spends a lot of time counting her money — and fires poor old Shorty. Which proves, of course, to be her undoing, as Shorty and his fellow losers in the genetic lottery surround her as she’s getting into her car one night, brandishing knives and torches one and all, close ranks around her terrified and convulsing body, and move in for — well, not the kill. To be honest, I have no idea exactly what they do to her, but she ends up like this —

And needless to say, for a gal that got to where she is on her looks, that’s gotta be a career-killer. To complete the homage (how’s that for being polite about it?) to Browning’s earlier film, the whole story is presented between two framing sequences featuring a carnival barker who tells his audience of gasping onlookers (and us) at the beginning that there are two kinds of freaks, those created by God and those made by man , and then we return to hear the end of his spiel before the big “reveal” finale showing us Jade as she is today (or as she was in 1967, at any rate). All in all it’s not a half-bad little time-waster as far as completely derivative and frankly unnecessary “uncredited remakes” go, and Brennen, who was actually a pretty good actress in her day (sadly, she passed away at a fairly early age from cancer in 1977) turns in a deliciously slow-burn-sinister starring turn as Jade that she clearly relishes every second of, but if you’ve seen Freaks then you’ve seen this done a)before, b)better, and c) with real circus “freak” performers.

Still, since the entire exploitation movie business was literally born as a traveling roadshow racket molded on the carny model, it’s nice to see drive-in fare that openly pays tribute to its roots like this one does. And I really shouldn’t do this, but — since exploitation’s the name of the game here, I think it only fitting that I end this whole thing by repeating a particularly salacious rumor that’s been circulating around the internet for some time now : apparently it was revealed shortly after Brennen’s death that she had secretly been seeing Felix “Shorty” Silla on the side for nine years and even bore his child! I have no idea if this is true or just another tinseltown tall tale, but it seems strangely natural that a movie like this would give birth to such a, well — freakish legend, and just think : if She Freak itself were half as interesting as this bit of gossip, it would definitely be remembered as an all-time classic!

What Lisa Marie Watched Last Night: Friday the 13th (dir. by Marcus Nispel)

Posted on by Lisa Marie Bowman

Last night, Jeff and I watched the 2009 reboot of Friday the 13th.

Why Was I Watching It?

For the past two weeks, I’ve been reviewing the 12 films that make up the Friday the 13th franchise.  This is the last installment so far and, appropriately enough, I’m reviewing it on Friday the 13th.  (No, that’s not just a coincidence.)

What’s It About?

It’s a reboot!  That’s right — forget about every other Friday the 13th film because, apparently, they never happened.  Instead of trying to figure out some new gimmick to try to get audiences to watch Jason Voorhees kill yet more teenagers, producer Michael Bay and director Marcus Nisepl have simply gone back to the beginning and started all over again.  (I think I saw something similar in an episode of Futurama once.)

Basically, this is the first four films all rolled into one.  The film starts with a young Jason Voorhees watching as his murderous mother (Nana Visitor) gets beheaded by a camp counselor.  30 years later, Jason (now played by Derek Mears) is living in the woods around Camp Crystal Lake.  A bunch of obnoxious campers come up to the Lake because they’re looking for a marijuana crop and Jason, being the culture warrior that he is, responds by killing all of them except for Whitney (played by Amanda Righetti), who he just kidnaps.

A month later, Whitney’s brother Clay (Jared Padalecki) arrives at Crystal Lake to search for his sister.  Upon arriving, he runs into yet another group of obnoxious campers who have decided to take a vacation up at Crystal Lake.   Jenna (Danielle Panabaker) agrees to help Clay look for Whitney and while the two of them are off searching, Jason shows up and starts killing everyone else. 

What Worked?

One reason that I’m using the What Lisa Watched Last Night format to review this film is because, to a large extent, it’s pointless to get all nitpicky while reviewing a film like the reboot of Friday the 13th.  This is not a film you watch because you’re looking to see something that’s going to redefine cinema.  This is a film you watch so that you can scream, laugh, and grab your boyfriend.  And, on all those fronts, Friday the 13th succeeds well enough.  Director Marcus Nispel obviously understands the slasher genre and he provides everything that we’ve come to expect from a film like this.

Also, I have to admit, I always scream at the end of the film even though I know what’s going to happen.

The victims are all very disposable and forgettable but Aaron Yoo is funny as the token stoner.

What Did Not Work?

With this film, The Texas Chainsaw Massacre, and Conan The Barbarian, Nispel shows that while he may understand how to make a genre film, he also doesn’t seem to be capable of adding anything new to them.  This isn’t a problem if you’re just looking to be entertained but, for true fans of the original films that have been rebooted by Nispel and producer Michael Bay, it’s hard not to wonder just why exactly these franchises needed a reboot as opposed to a sequel.  Watching a film like Friday the 13th reboot, it’s hard not to feel as if the filmmakers simply gave up trying to bring anything new to the equation and instead rather cynically decided to just capitalize on the earlier work of filmmakers who, as opposed to Nispel and Bay, aren’t in the current mainstream of the Hollywood establishment.

The main difference between a reboot like Friday the 13th and the original films in the franchise is that the reboot cost a lot more to make.  It’s a lot slicker (and therefore, you never really buy into the reality of the horror) and, with a few exceptions like Aaron Yoo, it’s full of bland actors who are recognizable from TV and who seem to be going out of their way to “act like characters in a slasher film” as opposed to at least trying to give actual performances.  It almost feels as if Nispel, Bay, and the cast are specifically going out of their way to wink at us and tell us, “We’re so much better than the movie that you just paid money to see.”  It feels incredibly condescending.

The film’s attempt to shoehorn the original first four films of the franchise into one 97 minute movie results in a film that often feels rather rushed.

“OMG!  Just Like Me!” Moments

Oh, a lot.  I would be so dead if I ever wandered into a slasher film.

Lessons Learned

From rewatching the entire Friday the 13th franchise, I learned several lessons: Don’t have premarital sex (or probably not even marital sex for that matter, Jason has got some issues), don’t drink beer, don’t smoke weed, don’t snort cocaine, don’t skinny dip, don’t go commando, don’t go in the wood, don’t go camping, don’t walking into a dark room, don’t say, “Is there anyone here?,” don’t shower, don’t sleep in abandoned cabins, don’t help out strangers, don’t hitchhike, don’t flirt, and … well, don’t do anything and you should be just fine. 

However, what fun would that be?

Well, this concludes my series on the Friday the 13th franchise.  I’ll be posting a few final thoughts on the franchise as a whole later tonight or on Sunday but for now, I hope you’ve enjoyed reading these reviews as much as I’ve enjoyed writing them.  Stay supple and don’t go wandering around in the dark.  Happy Friday the 13th!

AMV of the Day: Sexy

Posted on by Arleigh

The latest AMV of the Day is one I was recommended to by YouTube itself when I was checking my emails. It was a winning video at AKROSS Con 2010 by amv creator opiumVIDOK. The video is titled “Sexy”.

All I can say why I accepted this recommendation and used it as the latest “AMV of the Day” is how it perfectly exemplifies the reasons why some people love watching anime: Guns, Sex and Violence. Sometimes one or two in the same anime while at other times all three appear at the same time. It’s only reasonable that the creator of the video chose to use Marilyn Manson’s “mOBSCENE” track to score the video. If there was ever a criticism detractors of anime have it’s always that too much anime are obscene to the point of being pornographic.

I don’t know if I agree with that. I mean just watching “Sexy” it looks to be just 3-minutes of good, wholesome, animated fun.

Anime: Black Lagoon, NANA, K-On!, Nogizaka Haruka no Himitsu, Goshuushou-sama Ninomiya-kun, To Love-Ru (TV), Hatsukoi Limited, Sayonara Zetsubou Sensei

Song: “mOBSCENE” by Marilyn Manson

Creator: opiumVIDOK

Film Review: Freddy Vs. Jason (dir. by Ronny Yu)

Posted on by Lisa Marie Bowman

(This review probably contains what some people would consider to be spoilers.)

Today, as part of my continuing series reviewing the films of the Friday the 13th franchise, I take a look at Freddy Vs. Jason.

After spending 15 years in development Hell, the film Freddy Vs. Jason was finally released in 2003.  With this film, New Line Cinema brought together the stars of their two best-known horror franchises, Jason Voorhees (played here not by Kane Hodder but by Ken Kirzinger) and Freddy Krueger (Robert Englund.) 

During the time that Freddy Vs. Jason was languishing in development Hell, a huge number of potential storylines were pursued and a lot of scripts were written.  Some of those scripts are surprisingly good and one of them (the one with the enviromental message) is hilariously self-important.  Most of them are just terrible and can be found online via a google search.  The main problem was how to convincingly bring both Jason and Freddy together when the two of them essentially epitomized two radically different subsets of the slasher genre.  Especially when compared to some of the other ideas that were considered, the concept behind FreddyVs. Jason is actually pretty clever.

As the film starts, Freddy is trapped in Hell because he’s been forgotten by the teenagers of the world.  They’re no longer scared of him and, as such, they’re not having nightmares about him.  Freddy’s solution?  He tracks down Jason (also hanging out in Hell and having dreams that neatly parody his whole image of being a murderous defender of purity) and, by disguising himself as Pamela Voorhees, he convinces Jason to resurrect himself in Freddy’s old hometown.  Jason promptly starts killing teenagers and Freddy is blamed.  Soon, people are having nightmares and Freddy has his gateway back into the real world.  Unfortunately for Freddy, Jason keeps killing everyone before Freddy can get to them.  Freddy sets out to kill Jason and it all leads to one “final” battle between the two of them.

I have to admit that when I first saw Freddy Vs. Jason, I didn’t care much for it.  Of course, at that point in my life, my view of whether or not a film was good or bad was largely based on the type of night I was having when I saw it.  I saw Freddy Vs. Jason with a guy who 1) thought proper date attire was shorts, a t-shirt, and a baseball cap and 2) who apparently thought my right breast was just an armrest there for him to lean on whenever he got bored.  Bleh.  Beyond the company that I saw the film with, I was also upset that the character I most related to, Katharine Isabelle’s Gibb, was rather brutally killed off while boring old Monica Keena was allowed to survive.  My initial response to Freddy Vs. Jason was that it had to be bad film because I had a bad time while I was watching it.

However, I recently rewatched it again with my BFF Evelyn (who always dresses up and is pretty good about not feeling me up every three minutes) and I actually enjoyed Freddy Vs. Jason a bit more the second time around.  I think it also helped that, in between the two viewings, I got a chance to see all the other Friday the 13th and Nightmare on Elm Street films along with a lot of other horror films and was now able to see how scenes that seemed pointless the first time around were actually meant to comment on the history and the conventions of both the Friday the 13th and Nightmare on Elm Street franchises.  The 2nd time around, I could better appreciate the perverse parody at the center of Robert Englund’s performance as Freddy Krueger.  While the human characters are never all that interesting, the “final” battle between Jason and Freddy is genuinely exciting.  When I first saw it, I thought that the film’s final scene (with Freddy’s decapitated head winking at the camera before laughing) was incredibly stupid but now I appreciate it for what it is — a deliberately campy homage to the over the top exploitation films of the 70s and 80s. 

As opposed to the previous few films in the Friday the 13th franchise, Freddy vs. Jason was a huge box office success.  It was the first (and, come to think of it, only Friday the 13th film) that I saw in an actual theater and it actually did give me nightmares (mostly because I foolishly chose to relate to the obviously doomed Katharine Isabelle).  With that type of success, it was inevitable that there would be another film in both the Friday the 13th and Nightmare on Elm Street franchises.  Those two films, however, would not be sequels.  Instead, they would be (bleh) reboots.  We’ll take a look at the reboot of Friday 13th (and finish off this series of reviews) tomorrow.

Film Review: Jason X (dir. by Jim Isaac)

Posted on by Lisa Marie Bowman

Last night, my friend Evelyn and I stayed up way too late and we watched the 10th film in the Friday the 13th franchise, 2002’s Jason X.  I was watching it for a second time because I’ve been reviewing the Friday the 13th films for this site.  Evelyn was watching it for the first time because she’s my BFF, we were having ourselves a girl’s night in, and she’s willing to watch anything with me because she has complete faith in my taste in movies .*

Anyway, after the end credits rolled, we both immediately agreed on one thing: Jason X sucks.  Seriously.

Jason X is yet another one of the Friday the 13th gimmick films.  This time the gimmick is (all together now): JASON.  IN.  SPAAAAAAAAACE!  However, before we get into space, the film opens in the “near future” of 2010.  Apparently, there is now some sort of underground, government controlled lab underneath Lake Crystal Lake and being held prisoner there is Jason Voorhees (played, for the last time, by Kane Hodder).  Apparently, the government has spent the last two years trying to figure out a way to kill the bound Jason but his cells keep regenerating. (No mention of demonic slugs for this film!)  Government scientist Rowan LaFontaine (Lexa Doig) wants to freeze Jason but another scientist, Dr. Wimmer, wants to use Jason as a weapon.  We know Dr. Wimmer is evil because he’s played by David Cronenberg.

Anyway, while Dr. Wimmer and Rowan are arguing about the ethics of exploiting an undead serial killer, Jason manages to escape and kills everyone in the underground lab except for Rowan.  She manages to freeze him in a cryogenic pod but gets frozen herself in the process.

Nearly 500 years later, Earth has been abandoned because Al Gore was right (yawn!) and the planet is now too polluted to live on.  Humanity had relocated to Another Earth.  However, students occasionally conduct field trips to the old Earth and one of those field trips comes across Jason and Rowan, still in deep freeze.  The students take the two of them back to their spaceship, thaw them out, and — needless to say — things don’t end well for the majority of them.

Jason X was made, of course, because Jason Vs. Freddy had spent the previous 9 years languishing in development Hell.  Jason X was New Line’s way of reminding people that they owned the Friday the 13th franchise and it certainly managed to do that, though it didn’t bring that many people to the theaters.  (Jason X is the second-lowest grossing film in the series.)  The reviews, at the time, were scathing and it’s easy to see why: the special effects looked incredibly cheap, everything about the film’s vision of the future (from the garish set design to the ugly costuming choices) felt tacky, and the acting was terrible.  Lisa Ryder, who played the perpetually cheerful robot KM 14, had a role that should have been actor-proof but she still managed to give a memorably bad performance, the worst moment being when she let out a weak-sounding “Yeah,” after it was incorrectly felt that she had killed Jason.)

The one exception: Kane Hodder.  In this unworthy little film, Hodder probably gives his best performance in the role of Jason.  Here, Jason is less an undead serial killer and more just an old man who is sick of kids wandering across his lawn.  He kills less because he’s evil and more because he’s just frustrated at being surrounded by so many stupid people.

And after watching Jason X, ever though you still can’t sympathize with him, it’s harder to blame him.

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* Evelyn has requested that I make it clear that the main reason she ended up watching Jason X with me was because she was “in the wrong place at the wrong time.”