The Ultimate Rabbit and Keon Kobra’s Live Commentary on ‘Night of the Demons’

Night of the Demons 1988 movie poster

I recently had the pleasure of checking in with Keon Maghsoudi (a.k.a. Keon Kobra), a most excellent friend of mine from high school. We joined up to do an online commentary on the horror movie “Night of the Demons.” Released in 1988, the same year we got “Child Play’s,” “Maniac Cop,” “Halloween 4: The Return of Michael Myers,” “A Nightmare on Elm Street IV: The Dream Master,” “Phantasm II” and the completely unnecessary “Poltergeist III,” it was made for $1.2 million and shot over four weeks in South Central Los Angeles. Despite negative reviews from critics, it went on to gross over $3 million after its debut in Detroit. Since then, it has become a cult classic and was followed by two sequels and an obligatory remake.

Before Keon and I started, I admitted I had not previously seen “Night of the Demons.” I was aware of it, having seen its posters in newspapers and a trailer on television. But back then, I was only slowly getting into horror movies as they were the kind of cinematic experiences I was fascinated by but quick to avoid. These days, I look forward to them as I have long since become deeply fascinated by the dark side of humanity.

“Night of the Demons” tells the twisted tale of a group of high school seniors who decide to celebrate Halloween at Hull House, an isolated funeral parlor which (surprise surprise) is said to be haunted by evil spirits. Despite this, one of the seniors gets the group to participate in a séance which, as you can expect, leads to all hell breaking loose. This demon, which kind of looks like the anglerfish from “Finding Nemo,” rises up and begins to possess these foolish teens, and it is clear from the get go many of them will not survive the night.

This is one of those movies best watched with a group of friends as watching it by yourself serves as a reminder of how a party of one is not much fun. Director Kevin S. Tenney and screenwriter Joe Augustyn employ a large number of horror movie clichés to where we feel like we have a good idea of which characters will live and die. It’s almost like a guessing game as I was tempting to place bets as to which one would bite the dust first. I kept thinking it would be Stooge (played by Hal Havins). Was it? Watch the movie.

Dread Central, in its review of the cult classic, described it as being “fun. Lively. A masterpiece, it’s not.” I think this perfectly sums up “Night of the Demons” as it was made not to ascend to the cinematic heights of “Lawrence of Arabia,” but instead to satisfy its core audience which was into blood, gore and hair/glam metal bands which the 1980’s was famous for producing. I want to thank Keon for inviting me to be part of this commentary as watching the movie with him proved to be a lot of fun.

As we watched the movie, I had its Wikipedia and IMDB pages up on my computer, and I found out the following:

  • Cathy Podewell, who plays the virginal Judy Cassidy, lived in Walnut Creek, California, a city not far from where Keon and I grew up.
  • Judy’s boyfriend, Jay, who is portrayed by Lance Fenton, played Kurt Kelly in one of the greatest teen movies ever made, “Heathers.”
  • Linnea Quigley, who plays teenager Suzanne, was 30 years old when she was cast. Quigley initially turned down the opportunity to audition as she felt much too old to play a teenager. Nevertheless, she was cast.
  • Quigley is best known for playing teenage punk Trash in “The Return of the Living Dead,” another in a long line of movies I still need to see.
  • This movie was recorded in Ultra Stereo. Remember Ultra Stereo? That seems to have gone the way of VHS tapes.

I have included the entire video of our commentary down below. I hope you enjoy it.

Click here to check out Keon Kobra’s Movie Review Strike!

Click here to check out Keon Kobra’s YouTube page.

Keon Kobra logo

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Nicolas Roeg’s ‘Track 29’ is Bizarre and Compelling From Start to Finish

Track 29 movie poster

WRITER’S NOTE: This review was written around the time this movie was to be released on DVD by Image Entertainment back in 2012.

Track 29” is one of the strangest movies I’ve seen in a long time, but that’s probably because I am not very familiar with the work of director Nicolas Roeg. This is only the second movie of his I have seen, the last being “The Man Who Fell to Earth,” and it helps to understand his filmmaking method before watching his work. Roeg’s movies are known for their kaleidoscope of images which are typically presented out of chronological order, and it’s left up to the viewer to make sense out of all the craziness they have just witnessed. Learning this helped me understand “Track 29” better as it is one of those WTF movies which willfully defy easy categorization.

This movie came out in 1988, and its DVD release coincides with Gary Oldman’s first ever Oscar nomination for “Tinker Tailor Soldier Spy.” Oldman stars as a British orphan named Martin who has arrived in America to look for his mother. Upon meeting bored housewife Linda Henry (Theresa Russell), Martin is convinced she is his mom and tries to form the bond he has forever longed to have with her. But as the story continues, we wonder if Martin is real or if he’s just a figment of Linda’s imagination as his arrival coincides with her remembering the child she gave up for adoption years before.

The real pleasure of watching “Track 29” today is to witness Oldman at his manic best as he is a firecracker always on the verge of going off. The actor did this movie not long after he received critical raves for “Sid & Nancy” and “Prick Up Your Ears,” and watching all three movies together makes one wonder where he gets all his crazy energy from. Putting this in comparison to the more subdued work he does today as George Smiley or Commissioner Gordon in Christopher Nolan’s “Batman” movies makes one realize how amazingly far his range as an actor goes, and it makes me appreciate his work more than ever before.

Theresa Russell, who remains one of cinema’s most underrated actresses, is equally good as Linda even as she appears to be going over the top from one scene to the next. Throughout “Track 29,” Russell gives her role a strong conviction as she comes to grips with a traumatic moment in her life and a passionless marriage which has gotten to where she knows exactly what will come out of her husband’s mouth before he says it. Actors can look utterly ridiculous when they fall into the trap of playing the clichéd drunk or just running the gamut of emotions, but Russell holds your focus from beginning to end. She has always been one to take risks with each role she takes on, and this one is no exception.

Among the other actors to be found here is Christopher Lloyd who plays a role I never thought I’d see him in: the boring husband. From his roles in “Back to The Future” and “Star Trek III: The Search for Spock,” I’ve come to see Lloyd as anything but boring. But here he is amazingly bland as he takes more interest in his toy train set, which collectors of such things will be slobbering over once they see what he’s put together, than he does in his wife’s problems. Whether his character of Dr. Henry Henry (a rather unfortunate name) is having an affair with Nurse Stein (Sandra Bernhard) or making a passionate speech to the obsessive train car collectors of North Carolina, Lloyd inhabits this character fully and reminds you of what a great actor he can be.

Other excellent performances to be found in “Track 29” come from Colleen Camp as Linda’s friend Arlanda who reacts to her problems with utter bafflement, Sandra Bernhard who gets to indulge gleefully in her character’s brand of S&M, and the great Seymour Cassel as Henry’s boss Dr. Bernard Fairmont who reacts to his colleague’s bizarre behaviors with disdain and utter hilarity.

Roeg gives this movie many unforgettable images which come to illustrate the missing passion and meaning in these characters’ lives as well as the sheer violence hiding just below the surface. Watching it reminded me of “Revolutionary Road” and how Kate Winslet’s character was ever so desperate to escape the suffocating atmosphere of suburbia, but this story is given a more surrealistic quality as Oldman’s character descends into the mindset of a child who, when let loose, destroys things without a care in the world. Everything seems to act as an allusion to Linda’s unconscious desire to destroy the world she inhabits as it becomes her only way to escape it.

Image Entertainment released the DVD version of “Track 29” recently, and this is the best it has probably ever looked. As for extras and special features, this disc is frustratingly scant in those departments. It would have been nice to have a commentary track or at least some interviews with the director and cast to see how they went about making this bizarre motion picture and what their reactions were to it. The only real extras to speak of are a couple of trailers which precede the movie, and they are for the cult classic “Withnail & I,” Neil Jordan’s “Mona Lisa,” and “The Long Good Friday” starring Bob Hoskins. Coincidentally, these are three movies I still need to see.

Despite the lack of special features, “Track 29” is definitely worth a rental for fans of Oldman and to see him at his most emotionally unhinged in a motion picture. It may not reach the critical heights of Roeg’s other works like “Walkabout,” but it’s definitely for those who love films which defy conventional film narration. Lord knows we need movies like these every once in a while as things can’t stay the same forever.

* * * out of * * * *

John Carpenter’s ‘The Fog’ Covers the Coastal Towns Again in a Beautiful 4K Restoration

 

The Fog 4K Restoration posterThe Fog” remains one of my favorite John Carpenter movies. Every time a fog bank appears in whatever town I happen to be in, I immediately put on his score to the film and start playing its theme song. Like Alfred Hitchcock’s “The Birds,” “The Fog” is, for me, one of the most iconic Northern California horror movies ever made as it captures the beauty of coast near Bodega Bay and beyond while enthralling you with a number of terrifying images.

Rialto Pictures has now released a 4K restoration of “The Fog,” and seeing it again on the big screen proves to be a real treat. Granted, this Carpenter movie has been restored previously for the special edition MGM DVD and Shout Factory’s Blu-ray collector’s edition, and the results were truly astonishing. But just when I thought the image couldn’t be improved upon any further, along comes this restoration which looks truly pristine and clear to where the image, if you’ll excuse the expression, isn’t as foggy as it once was.

“The Fog” takes place in the coastal town of Antonio Bay which is about to celebrate the 100th anniversary of its formation, but we soon discover it was actually built on blood and theft. Father Malone (the great Hal Holbrook) discovers a diary hidden in the walls of his church written by his grandfather, and it tells of how he and five of the town’s founders deliberately plundered and sunk a clipper ship named the Elizabeth Dane. The owner of the ship was Blake, a wealthy man looking to establish a leper colony, but he and his crew ended up being murdered, and the gold found on their ship was used to build the town and its church.

Now Blake and his crew are back to get their revenge against the offspring of the town’s founders and retrieve their gold. Once you are surrounded by the fog to where Blake and his crew have you in their sights, it is too late to escape. There is a Klingon proverb which tells of how revenge is a dish best served cold, and it is served here very coldly to where we are quickly reminded of the movie’s tagline:

“It won’t hurt you. IT’LL KILL YOU.”

Watching “The Fog” for the umpteenth time, I am reminded of what a brilliant cinematographer Dean Cundey is as his lighting helps to make the movie’s central nemesis all the more mysterious and devilishly suffocating. The dark of the night is made to look especially chilling as things constantly leap out of it, and Blake and his crew are largely kept in the shadows as neither Cundey or Carpenter want to reveal too much of the monster to the audience.

This was Carpenter’s and the late Debra Hill’s first movie after “Halloween,” and I can understand why audiences felt a little let down by “The Fog” when it arrived in theaters. The anticipation for something usually ends up being more exciting than the finished product as our minds are filled with the possibilities of what we think will end up on the silver screen, but not everything comes out the way we want it to. It’s an unfair obstacle that filmmakers often have to deal with when following up such a successful motion picture, and sometimes we need to revisit certain movies like these years later to give them a much-needed reassessment.

More than 30 years have passed since Carpenter’s “The Fog” was released, and I like to think it has gotten better over time. In terms of atmospheric horror movies, I see it as one of the best. Those low-flying clouds are always a fascinating sight as well as a scary one. When the visibility is practically zero, you cannot help but feel trapped in the fog as it makes you believe the world has cut you off. Carpenter captures this feeling here as the fog proves to be thick and infinitely suffocating. There’s no escaping it or what is inside of it as those not smart enough to run away from it are almost deserving of the fate about to greet them.

Carpenter assembled a terrific cast of actors for “The Fog,” many of whom became regulars in his later movies. John Houseman gets things off to a chilling start as he recounts the story of the Elizabeth Dane in a way which feels vivid and probably helped the producers save money to where an actual recreation of the event he talks about proved completely unnecessary. Houseman was a brilliant actor who somehow managed to walk the line of doing work for either the love of the theatre or instead a nice paycheck, and I like to believe he did “The Fog” for the former. Still, I am often reminded of what the late Robin Williams said about the advice Houseman gave him while he was a student at Julliard:

“The theatre needs you. I’m going off to sell Volvos.”

Tom Atkins co-stars as town resident Nick Castle (lol) who is quick to pick up hitchhiker Elizabeth Solley (Jamie Lee Curtis) and later have sex with her before asking the question often heard in movies of the late 70’s and early 80’s, “What’s your name?” Atkins showed what a confident lady’s man he was here, and he later built on this confidence to terrific and hilarious effect in “Halloween III: Season of the Witch.”

“The Fog” also marked the film debut of Adrienne Barbeau, and the camera loves her here. As single mom and local radio disc jockey Stevie Wayne, Barbeau gives this Carpenter movie the strong female character it needs and deserves. Stevie is not a person to back down from danger and, like Laurie Strode, she is very observant of everything going on around her. When Barbeau’s voice is giving you more than enough of a reason to listen to jazz music on a regular basis, she keeps you on the edge of your seat as she fends off the bloodthirsty mariners hiding in the fog in ways her male counterparts fail to.

And, of course, I have to mention Carpenter’s score as I remain as big a fan of his music as I do of his movies. His main theme for “The Fog” is one of his most memorable as it has the same rapid pace of his “Halloween” theme. The musical stings pack a wallop in certain scenes where ghostly hands reach out of the fog to grab at unsuspecting victims who think this is the work of kids, and his other big theme in “The Fog” is “Reel 9” which brings the movie to its riveting climax in which the mariners close in on the townspeople who have no place to escape certain death.

Carpenter has described “The Fog” as being one of his least favorite movies as its initial cut proved to be very disappointing, and he had to reshoot and rescore much of it before its release. Whatever the case, it is a wonderfully atmospheric horror movie which stands among his finest works, and watching this 4K restoration of it reminds one of why certain movies play best on the silver screen.

It’s also fun to watch a movie made back in the pre-digital age when cell phones and GPS were not around to save our heroes. Instead, they had to deal with landlines, a desperate DJ and the limits of technology. After watching “The Fog” again in this day and age, I kept waiting for one of the characters to say the following:

“It’s just you, me, and my Thomas Guide.”

* * * * out of * * * *

Soundtrack Review: ‘The Man with One Red Shoe’

The Man With One Red Shoe soundtrack cover

Anyone remember the action comedy “The Man with One Red Shoe” from 1985? It starred Tom Hanks as Richard Drew, a concert violinist who is picked out at random from a crowd to become the target of CIA surveillance. It also features one of my all-time favorite film scores by Thomas Newman, a composer who has given us many unforgettable scores like “Scent of a Woman,” “The Shawshank Redemption” and “Skyfall.” But like many film scores I loved from the 1980’s, this one never got a commercial release, and I was relegated to recording sections of the music from a VHS tape onto an audio cassette. While the dialogue threatened to get in the way, I was determined to enjoy this music any way I could get a hold of it.

But now, 33 years later, La La Land Records has now made Newman’s score to “The Man with One Red Shoe” available as a limited-edition CD. I have been waiting for this soundtrack with extreme patience, and it proved to be well worth the wait as this classic 1980’s score has never sounded better. Seeing the iconic image of the red shoe with a lit fuse on the cover made me want to buy this soundtrack yesterday. The back-cover features Hanks being hugged by the gorgeous Lori Singer while on a bicycle, and it makes me just as envious of him as when this movie first came out. And when you take the disc out, you will see a picture of the late Carrie Fisher who co-starred as Paula. Carrie, you are still missed.

Ever since I first watched the trailer for “The Man with One Red Shoe” on television, I quickly fell in love with its main title. It’s a classic 1980’s theme, and it sounded ever so cool. Listening to this theme, it made me want to walk around town like I was a spy. Granted, I was ten years old when this movie was released, so my imagination was unfettered by the harsh reality of the real world.

While I have long been led to believe Newman’s score was completely electronic, there’s actually a good deal of instrumentation involved in it as well. You can hear this in a number of the tracks throughout. Listening to this soundtrack reminded me of just how much I dug what Newman came up with, and in retrospect it proved to the world what a unique film composer he could be.

La La Land Records has included liner notes written by Jeff Bond entitled “How Thomas Newman Got His Groove On.” A portion of the notes deal with this movie’s making and of how it was released in a time when Hanks was best known as the star of the sitcom “Bosom Buddies,” long before he became the prestigious Oscar winning actor we all know him to be these days. In regards to Newman’s score, Bond described it best in this paragraph:

“Sonically, ‘The Man with One Red Shoe’ not only evokes the jazz fusion/pop electronica vibe of 1980’s popular music, but also presents the distinctive musical voice of composer Thomas Newman at a pivotal point in his development as an up-and-coming talent.”

The liner notes do not go into how the movie was ill-received upon its release with both critics and audiences, or that Hanks himself admitted this is not one of his films he would be quick to put into a time capsule. Nevertheless, I cannot recommend this limited-edition release of “The Man with One Red Shoe” soundtrack highly enough. As far as I am concerned, it was well worth the wait, and having it in my soundtrack collection makes it feel more complete than it already is.

Now, if someone could put out limited edition of Newman’s “Gung Ho” score, all will be right in the world.

Click here to find out how you can order a copy of “The Man with One Red Shoe Soundtrack.”

 

 

All-Time Favorite Trailers: ‘A Nightmare on Elm Street 3 – Dream Warriors’

Back when this particular horror sequel was released, Freddy Krueger was still a very frightening character. The burnt serial killer had yet to devolve into a stand-up comic, and just the thought of him hiding in the shadows of your dreams waiting to strike was enough to leave you unnerved. It’s a shame we have not yet seen a scene in any of the “Nightmare on Elm Street” movies where a teenager goes up to someone suffering from insomnia and tells them, “I envy you.”

Following this sequel, he ceased to be scary and became more of a cut-up than anything else, and we had to wait for “Wes Craven’s New Nightmare” to see him as a truly threatening presence once again. But I never forgot what a haunting character Freddy was back in the 1980’s, and what I love about this teaser trailer for “A Nightmare on Elm Street 3: Dream Warriors” is it seizes on how fearful we were of him to where we didn’t even need to see his face to know he was just around the corner. Just hearing that little girl singing “1, 2, Freddy’s coming for you” was enough to make your hairs stand on end. And once we got a look at the model of Nancy Thompson’s old house which resides on Genesee Avenue on Los Angeles, my eyes went wide upon the realization this was indeed a trailer for another “Nightmare on Elm Street” movie. And then the hand with the claws burst out of the model, and I wanted to hide my eyes from the screen…

This teaser trailer for “Dream Warriors” remains one of my favorite trailers as it proved to be one of the scariest ever, and it piqued my interest in a character I would become more intrigued with as I got older.

A Nightmare on Elm Street 3 Dream Warriors poster

‘Friday the 13th Part V: A New Beginning’ Remains the Franchise’s Worst Sequel

Friday the 13th Part V A New Beginning poster

The “Friday the 13th” movies have always divided critics and moviegoers. The utter hatred of from critics like Gene Siskel and Roger Ebert ended up giving people more of a reason to see them. But that’s the great thing about “Friday the 13th Part V: A New Beginning” because it’s the first movie in this endless franchise which succeeded in bringing critics and fans together as everyone agrees this one is flat out terrible. After all these years, it remains the worst “Friday the 13th” movie ever, and it proved to be an utterly pathetic attempt to keep the series going. It was not unlike when Blake Edwards tried to continue “The Pink Panther” series after Peter Sellers passed away, and we all know how that turned out.

This sequel is the second in the Tommy Jarvis trilogy which started with “The Final Chapter” and concluded with “Jason Lives.” Corey Feldman returns briefly as Tommy, and we see him visiting Jason’s grave and hiding behind trees when two guys show up with shovels. They are the first of many stupid characters introduced here as they dig up Jason’s grave, and he immediately rises again and slashes them with a minimum of vicious effort. Following this, Jason then spots Tommy and goes over to get his revenge, and then Tommy wakes up. From there he is played by John Shepherd, and we see Tommy is still dealing with the psychological aftermath of killing Jason years later. Feldman’s presence in the film is a mere cameo as he was busy making a much better one called “The Goonies.”

We learn Tommy has gone from one mental hospital to another with increasing regularity, and “A New Beginning” starts with him arriving at the Pinehurst halfway house. Poor Tommy has been prescribed just about every antidepressant and anti-psychotic drug on the market, but this hasn’t stopped him from working out in the gym as he looks more buff than the average mental patient. It’s enough to help him beat the crap out of others, and we should at least admire Tommy for managing to survive puberty as killing Jason changed him for the worst.

Here’s what separates “A New Beginning” from all the other “Friday the 13th” movies with the exception of the original; Jason Voorhees is not the killer. This sequel is actually a whodunit, and you won’t know who the real killer is until the end. Or maybe you will if you look at the suspects very closely, especially their eyes. The Scooby Doo ending is unbelievably ridiculous as we learn the killer’s motive and how thy dressed up like Jason to keep from getting caught. This just adds to the unintentional humor this sequel elicits from scene to scene.

The characters in the “Friday the 13th” movies have never been more than one-dimensional human beings who are out to party and get laid, and this one doesn’t change that dynamic. What is different though is how infinitely annoying they are. Two teens named Pete and Vinnie bitch and moan at each other while they’re fixing their car (talk about a friendship which never should have been). Just check out their dialogue:

“Aww, what’s the matter, Vinnie? You scared of the dark? You all creeped out by that murder at the nuthouse?”

“Oh yeah, sure. Look, as far as I’m concerned, all those loonies should be killed off one by one. Can you try it now?”

“Geez, man, can’t you do anything? Stop screwing’ around! Get this thing done by the time I get back. I gotta take a crap.”

“Crap my ass!”

“Just do it, man! I mean it.”

Then there’s Billy, an employee at the halfway house, who gets all coked up to where he believes he is god’s gift to women. There’s at least one of these schmucks in every sequel:

“That’s it. That’s the whole frackin’ thing right there. There it is, you just stay right there, doll. That’s just what the doctor ordered. Nothing’ like a little prevented medicine. And, the forecast is; Cloudy in the mountains, sunny in the valleys, and snow flurries, up your nose!”

For some utterly bizarre reason, a local waitress named Lana can’t wait to screw Billy. Seriously, nobody can be that desperate:

“LANA! HEY, LANA!”

“Sorry buster, we’re closed.”

“It’s alright; I just want a take-out order.”

“You do, huh? Well, what would you like?”

“I would like Lana to go with nothing on her.”

“Oh, and who wants her?”

“The pride of the Unger Institute of Mental Health who has just dumped his last bedpan and would like very much to party.”

A developmentally challenged boy named Joey walks around with a chocolate bar in his hand offering help to anyone who needs it, but he inadvertently stains clothes that have just been washed. His gift of a candy bar is also melting in his hand, and this does not make it particularly appetizing. Not to give anything away, but he is the first to be killed off.

But these characters are nothing compared to Ethel and her man child of a son Junior whom she treats like crap. You’ll never find a more repellent set of characters in any “Friday the 13th” movie, and this includes “Jason Takes Manhattan.” Just imagine if Lenny from “Of Mice and Men” had a mother:

“That is one fucking ugly man that goes there.”

“That’s one fucking ugly man, Mama.”

“Would you shut your trap? You ain’t so pretty yourself, you know.”

“I ain’t so pretty myself, I know.”

In terms of the kills in “A New Beginning,” they are unimaginative and puny compared to what we saw in the previous films. The gag with the flare in a guy’s mouth was put to much better use in “Dead Calm.” Same thing goes with those gardening shears plucking out a character’s eyes as there have many knock offs which used this because Jason already had dibs on the machete.

But what this sequel is missing most is Tom Savini who gave us deaths and copious amounts of blood and gore combined with a vicious sense of reality. Savini stuck to his word that “The Final Chapter” would be his last “Friday the 13th” since it allowed him to kill off Jason for good, but those who took over from him cannot equal what he accomplished.

Also, time has not been kind to this sequel. There is a young boy named Reggie (Shavar Ross) who gets to meet up with his older brother, Demon (Miguel A. Núñez Jr.), who lives in a van outside of town. Demon looks like he came straight out of one of those 1980’s breakdancing, and seeing this style today makes an unintentionally hilarious sequel even more hilarious than it was ever intended to be.

Jason is played by Tom Morga, a stuntman who has worked on “Pirates of the Caribbean: At World’s End” and “Spider-Man 3” among other movies. His work as Jason is not bad, but it’s hardly memorable compared to what other actors like Kane Hodder brought to this character. Then again, this is not a role which requires method acting. Of course, if someone were to try method acting in this role, they would end up in solitary confinement or death row.

As Tommy, Shepherd gives us the most intense and screwed up version of this character as he manages to convey Tommy’s extreme mental anguish without having to say too much. In fact, Shepherd has only 24 words of dialogue throughout the whole movie, and this does not include all the laughing and yelling he does.

The director of this fiasco is the late Danny Steinmann whose other credits include “Savage Streets” and “The Unseen,” and “A New Beginning” ended up being his last film. Learning of this makes me feel sorry for him because no one wants their movie career to be cut short, and it sucks to be remembered for directing such a horrible movie.

You could say “Friday the 13th Part V: A New Beginning” is one of those movies which is so bad it’s good. Watching the bad acting, terrible dialogue and weak direction is an entertainment unto itself. But even though it has long since gained a cult following, nothing changes the fact this is the worst sequel in this franchise. After this one, it didn’t matter if bringing Jason back from the dead defied all logic. Anything was better than seeing the series take the course of Tommy Jarvis becoming the new Jason.

½* out of * * * *

‘Friday the 13th Part IV: The Final Chapter’ – Yeah, Whatever

Friday the 13th Part IV The Final Chapter movie poster

I was in the second grade when this movie came out in 1984. It was also one of the few movies in this endless series to actually open on Friday the 13th. Looking back, it was interesting to see 8 and 9-year-old kids get excited about a movie they had no business watching at that age. Whether adults liked it or not, these movies played a big part in our lives, and they were to my generation as the “Saw” and “Paranormal Activity” movies are to today’s. The sight of bloody violence on the big screen, as opposed to real life, is still exciting to watch, and this has been the case for much longer than we realize.

Friday the 13th Part IV: The Final Chapter” was the first film in what became known as the Tommy Jarvis trilogy, the other two being “Part V: A New Beginning” and “Part VI: Jason Lives.” Tommy is played here by Corey Feldman in a gleeful performance as he delights in making scary masks he can hide behind, but this glee eventually becomes undone by Jason’s bloody rampage. This film marked the beginning of Tommy’s descent into madness which was eventually cut short by a much-needed franchise retcon after “Part V.”

When Jason got an ax to the head in “Part 3-D,” it was the first time in the franchise in which he actually got killed off. Jason didn’t appear in “Friday the 13th” until the very end when he gave us one of the biggest jump scares in movie history, and he wasn’t even killed off in “Part II.” Sure, he got his ass kicked, but it was not a fatal blow for he was slowly grabbing his machete as the virginal heroes walked away. When “Part III” came along, it was assumed Jason finally met his maker. That is, until Paramount Pictures realized they made $36 million off a movie with a $2.5 million budget.

When “The Final Chapter” starts, the police have arrived at Crystal Lake and Jason, wearing the hockey mask first introduced in “Part III,” is being shipped off to the morgue. When he arrives at the hospital, he is left in the care of the biggest slob of a doctor/coroner ever, Axel (Bruce Mahler). Seeing him slobber all over his burrito while watching women in skin tight spandex clothing doing aerobics makes one wonder how he got hired in the first place. For some bizarre reason Axel ends up making out with Nurse Morgan (Lisa Freeman) even though she is utterly repulsed by him. Then again, if common sense was used by any of the characters, this movie would not exist. These two get murdered (big surprise), and Jason somehow makes it pass security with his hockey mask on and heads back to Crystal Lake.

Actually, he ends up going next door to Crystal Lake and drops in on a mother and her two kids who have rented a house next to another where a bunch of teens are looking to have a good time which includes drinking beer, smoking pot, watching vintage porno movies, having as much premarital sex as possible and indulging in some mandatory skinny dipping. You know, the normal weekend one has in Las Vegas. You know what happens next; Jason proceeds to do his Benihana act on everybody like a drunk with power landlord who never hesitates to evict tenants who haven’t paid their rent in months.

The “Friday the 13th” movies usually feature actors you never hear from again, but aside from Feldman there is another actor who still works a lot: Crispin Glover. He plays Jimmy, a man who has had no real luck with women. Throughout the movie, he keeps getting woman advice from Ted (Lawrence Monoson) who seems to know everything about them. Guess who gets laid first. No, it’s not who you think…or maybe it is.

It’s a kick to watch Glover here, as “The Final Chapter” came out before he hit it big as George McFly in “Back to the Future.” You also gotta dig his great spastic dance moves which more or less predated the break dancing era. No one dances like he does, and no one else dies like he does in this movie. Could he be as strange as the characters he plays? Maybe so, but these days he seems to be using his strangeness to good effect.

Of course, we always look forward to Jason laying waste to these unsuspecting teenagers, and he definitely gets a number of seriously nasty cuts in which were probably even nastier until the MPAA came in and said “no I don’t think so.”

One classic moment features a guy getting it right in the groin. Oh to be in a theater when this scene was displayed on the silver screen. It’s one of the few times where you can see a whole audience of men grab their crotches, thankful it was not them who suddenly got turned into falsetto singers. There is also a nice shower scene as well which ends with Jason doing a Norman Bates routine. It’s not as suspenseful as “Psycho,” but it sure is a lot bloodier!

Much has been said over the years of how sexist the “Friday the 13th” movies are towards women. Granted, some female characters are treated like sex objects with magnificent bodies who are out to seduce whatever men end up getting locked in their crosshairs. But at the same time, these movies feature women as being the bravest and most heroic of the bunch. They’re the ones who find the to defeat Jason after everyone else has failed because they were busy making out or doing drugs. Why do critics keep forgetting it’s typically a lone woman who is left alive after all this bloody carnage has reached its inevitable conclusion?

This “Friday the 13th” sequel is also notable for being the last one Tom Savini did the makeup effects for. Having worked on many horror films like “Dawn of the Dead” and “Maniac,” his work has a realism to it as uncomfortable as it is brutally effective. This is even more so when you look at the rest of the sequels where the kills began to look fake and were played for laughs. Apparently, Savini based a lot of his work on what he saw as a combat photographer and soldier in Vietnam, so there is a real authenticity to his work we cannot ignore.

The director for “The Final Chapter” was Joseph Zito, and his credits include “Missing in Action,” “Invasion U.S.A.” and “Red Scorpion.” Zito is one of those workmen-like directors who gets the job done and simply gives the audience what they want. Other than that, his style of directing doesn’t have any distinguishing characteristics.

Playing the immortal Jason Voorhees in “The Final Chapter” is Ted White, but you wouldn’t know it since he had his name taken off the credits. White was selected for the role because he is a big guy (6′ 4″ tall), and he said he only did it for the money. But White, for what it’s worth, gave this film a brutal and seriously terrifying Jason which ranks among the series’ best. He may not have been happy while working on this one, but White has no business thinking this “Friday the 13th” sequel was a waste of his time. After all, he could have been in “Jason X.”

While this sequel is certainly dated stylistically, it holds up better than many of the others. It was also the last “Friday the 13th” movie which was truly scary, and the series more or less went downhill from there. Even if it got a lot of the predictable hatred from film critics, it is nowhere as bad as some of the later entries, let alone the even cheaper knock offs it inspired.

“Friday the 13th Part IV: The Final Chapter” is a movie most people like more than they would ever openly admit. Call it a guilty pleasure if you will, but it is an entertaining one even if it rots your brain like others accuse it of doing. Any guy who tells you they hate these movies has got to be lying to a certain extent, especially when they are just going out the door to see the latest horror movie sequel. They’ll say it’s different, but c’mon! Who are they trying to fool?

* * * out of * * * *

All-Time Favorite Trailers: ‘The Shining’

I guess you could say this particular trailer for Stanley Kubrick’s “The Shining” was an early example of a teaser trailer. These days we get teaser trailers for all the big Hollywood releases, and they are designed to whet our appetite not just for the next big blockbuster, but also for the next trailer which will give us even more information of what is in store for us. These days, we even have teaser trailers for teaser trailers, something which I hope will be stopped soon because they are ever so annoying. We get teased enough as kids, so doing this at the movies does not help.

What I love about this trailer for “The Shining” is how simple it is in its design, and yet it still feels deeply unsettling. All we see at first is part of a hotel lobby with two elevators and chairs. The camera never moves an inch as the movie’s credits move upwards indicating the title, the actors starring in it (Jack Nicholson and Shelley Duvall), the names of the screenwriters, how it is based on “Stephen King’s Best-Selling Masterpiece of Modern Horror,” and the one credit us movie buffs are always happy to see, “Directed by Stanley Kubrick.” Seeing this had me wondering what one could expect with this adaptation of King’s work, and the music composed by Wendy Carlos and Rachel Elkind certainly sends a shiver down my spine.

Watching this trailer reminded me of Alfred Hitchcock’s “Psycho” as Kubrick, like Hitchcock, managed to find a sinister quality in everyday things and the ordinary. There’s nothing particular special about this hotel lobby here as it looks like any other we have ever been through. This makes it all the more horrifying when those gallons of blood start pouring out of the elevators and into the lobby,

Once again, the camera never moves or pans away, and seeing the blood wash over it is incredibly frightening as you feel trapped and unable to escape. Our instincts tell us to run away, but Kubrick is not about to let his audience off the hook. As the blood drips off the camera to reveal the damage left in its wake, it is clear how the “Dr. Strangeglove” director is more than prepared to take us on a most unsettling ride.

Opinions about Kubrick’s “The Shining” have varied over the years, and King himself has said numerous times how much he despised it. Whatever you may think of the film, this trailer for it is a brilliant piece of work. It’s a shame we don’t see more trailers like this one these days. Of course, if you know of any, please feel free to share them with me.

 

All-Time Favorite Trailers: ‘Maximum Overdrive’

Okay let’s be honest, “Maximum Overdrive” is not a good movie, and that is being generous. It is one of the many adaptations of a Stephen King novel or short story, in this case “Trucks,” and it also marked the feature film directorial debut of King as well. The fact he hasn’t directed a movie since should be no surprise to anyone who has seen this one. The acting is embarrassingly over the top, the editing very sloppy, and not even a rock and roll score by AC/DC is enough to lift, as King described it, this “moron movie” out of the cinematic abyss.

But when all is said and done, the trailer for “Maximum Overdrive” is one of my favorite movie trailers of all time. Watching King gleefully describe what he has in store for us makes me want to watch this movie again, and that’s even though I already know just how bad it is.

Right from the start, King makes it clear to the audience how “Maximum Overdrive” will be a unique movie compared to the others based on his work, and as the camera closes in on his face, he gives off a wide-eyed expression and a twisted smile which quickly reminds us how this is the same man who wrote “Carrie,” “Salem’s Lot” and “The Shining.” I love how he talks about how he “sort of enjoyed” directing a motion picture, but it makes me wonder if this was the cocaine talking as he later admitted how “coked out of his mind” he was while making this Golden Raspberry nominated film.

It was also a brilliant move to use the “Chariots of Pumpkins” theme John Carpenter and Alan Howarth composed for the “Halloween III: Season of the Witch” soundtrack here as the wonderfully creepy music adds to King’s creepy appearance while he stands in front of the Green Goblin mask which is featured prominently on the front of the biggest truck in “Maximum Overdrive.”

The worst parts of each actor’s performance are kept to a bare minimum here, but the annoying nature of the character Yeardley Smith plays is something even the makers of this trailer could not hide from the public. But do not feel bad for Smith. She has more than persevered since “Maximum Overdrive” as she still is the voice of Lisa Simpson on “The Simpsons,” and it is enviable role for any actor which she has held onto now for decades.

When King points his finger at us and says “I’m going to scare the hell out of you and that’s a promise,” it is a wonderfully unsettling moment as those of us who are fans of his writing are well-aware of how often he has kept us up nights. Of course, this movie is anything but scary, so perhaps he was talking about one of his books instead without even realizing it.

In a world filled with an infinite number of movie trailers, the one for “Maximum Overdrive” stands out for me among so many others. Even though the movie it advertises proved to be a critical disaster, I still enjoy watching it from time to time as there are few other trailers like it.

 

 

Roddy Piper Revisits John Carpenter’s ‘They Live’ at New Beverly Cinema

RODDY-PIPER-THEY-LIVE-10

It was a huge shock to hear of the sudden passing of “Rowdy” Roddy Piper who died on July 31, 2015 from a heart attack at the age of 61. Many of us remember him from his wrestling days with the World Wrestling Federation (WWF, now WWE) where he battled Hulk Hogan and Mr. T in the ring, and for also making Cyndi Lauper’s life (in her music videos anyway) a living hell.

But for me, I’m always going to remember him best for his performance in John Carpenter’s “They Live” in which he played a nameless drifter who discovers that the earth has been taken over by aliens disguised as rich people. While he may have seemed an unusual choice for a movie role, Carpenter said he cast Piper because he had life written all over his face, and that’s a quality that not enough people in Hollywood pay attention to these days.

The following is an article I wrote after I attended a special screening of one of Carpenter’s best movies.

They Live movie poster

Former wrestler and actor Roddy Piper visited New Beverly Cinema on June 10, 2012 to talk about his role in John Carpenter’s “They Live.” Once the film ended, Piper made his way to the front and leapt onstage and yelled out for all to hear:

“I HAVE COME HERE TO CHEW BUBBLE GUM AND KICK ASS!!! AND I AM ALL OUT OF BUBBLE GUM!!!”

This screening was put together by the horror convention Days of The Dead, and moderating the Q&A was Brian W. Collins from the website Horror Movie a Day. During the time he spent with the audience, Piper looked so incredibly happy to be there.

When Brian asked him how he got cast in “They Live,” Piper said he was doing Wrestlemania III and got asked out to dinner by Carpenter afterwards. Piper had, as he said, “been on the road since he was 15 years old,” and he admitted to the audience he “had no idea of who John Carpenter was.” But once he realized he was a movie director offering him the lead role in a motion picture, Piper was eager to work with him.

In talking about filming the destruction of the shantytown, Piper pointed out how many people in that scene were actually homeless and not your average Hollywood extras. He also said the filmmakers had to pay two gangs off so that, when they left at night, the trailers would still be there in the morning. Piper said he also knew the president of each gang, and that really helped.

Then there was the discussion about the “bubble gum” line which Brian heard was improvised by Piper. Piper confirmed it was his idea and jokingly described it as “lame,” and it came about when Carpenter told him just before the cameras started rolling:

“Roddy, you know you’re going into a bank, you got bullets on, you got a shotgun, you got sunglasses. You gotta say something because you’re not robbing it. Action!”

Piper said the line, and then Carpenter yelled cut and immediately said, “Lunch!”

One audience member asked Piper if he did his own stunts in “They Live,” and he admitted he did all of them except for when Meg Foster pushes him out the window. Piper, however, also said if it was the last shot of the movie, then they would’ve let him do it. Speaking of Foster, he confessed he did indeed trip out over her eyes because they are so beautiful. Looking back, he marveled at how she brings you right in with those eyes.

We never do learn Piper’s character’s real name, and he is called Nada in the end credits which in Spanish means nothing. In describing Nada, Piper said, “You don’t know where he came from, you don’t know why he’s doing what he’s doing, you don’t know why he’s wearing a wedding ring. You know nothing about him.” Carpenter told him the thought behind this was if you don’t know anything about him, it makes him more intriguing to where you want to watch more.

Piper ended the evening by speaking profoundly about his role:

“Nada is you, he is every one of you, not blue collar or white collar. He’s you and that’s why you know nothing about him because it depends on if it’s you, then that’s what’s about him. He’s supposed to represent everybody, not just America, but everybody in the world. And that’s kind of why you as an audience fill in the nothing with whatever ethics and morals you’re fighting for at the time.”

Upon hearing of Piper’s death, Carpenter said he was “devastated to hear the news of my friend Roddy Piper’s passing today. He was a great wrestler, a masterful entertainer and a good friend.”

RIP “Rowdy” Roddy Piper.