Tag: Jason voorhees

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Retrospectives Reviews

40 years on – Friday the 13th: The Final Chapter

Friday the 13th – genre-defining, monumental, and dare it be said, ‘totally iconic’. These are just some of the descriptors denoted to this mammoth of a horror franchise. With 12 entries to the series name, it can be challenging to define all of the films; however, amongst all of the slasherific and certainly unique films, there does seem to be an entry that repeatedly stands out. Joseph Zito’s Friday the 13th: The Final Chapter (1984). 

A group of teens travel to Camp Crystal Lake for a weekend of debaucheries, but things soon go array when Jason Voorhees shows up to his stomping grounds to cause chaos. With this traditional storyline comes a shed of archetypal bloodshed where graphic kills and splatter-filled jumpscares dominate the screen. The Final Chapter is a bonafide classic, but it very nearly ceased to exist as Friday the 13th Part III (1982) was due to complete the Jason trilogy. That was until producer Frank Mancuso, Jr. became hellbent on killing off Jason once and for all. Mancuso worked on both Friday the 13th Part 2 (1981) and Part III, where it was widely reported that he felt his complex and crucial inputs as a production assistant and then producer were not taken seriously enough. In response to this, he recruited Zito, director of the 1981 slasher The Prowler to end the series under his terms. With this, Zito along with Manuso’s backing ended up conjuring one of Friday the 13th’s best films. 

Complicit in this reputation is the film’s exceptional imagery that was made at the hands of legendary effects artist, Tom Savini. In The Final Chapter, Savini (known within the Friday the 13th universe for his visceral creation of Jason in the first film), tackled the likes of macheted necks, head twisting, pitchfork stabbings, crucifixion, meat-cleaver hackings and smashed faces. All of these were done with such vivid brutality that elevates the chaotic wildness of it all into genuinely intense, skin-crawling displays of pure depravity that show the brutish capabilities of Jason. Interestingly enough, the film’s evidential flare for the creativity of these depictions goes far beyond the surface, with the film’s primary protagonist having a spiritual tie to Savini. 

Although The Final Chapter chronicles the aforementioned quintessential motley crew of youngsters dying at the hands of slasher’s favourite boogeyman, the film has an interwoven secondary line of narrative following the Jarvis family. Residing next door to the teens is Tommy Jarvis (Corey Feldman), his sister Trish (Kimberly Beck), and their mother (Joan Freeman), all of whom must face the wrath of Jason. Tommy’s ability to think on the spot and get inside the mind of Jason has allowed him to become somewhat of a staple member of the franchise, with his character starring in a total of three Friday the 13th films. Throughout his first appearance, Tommy makes quite the impression thanks to his eclectic personality. Tommy has an affinity for all things practical effects, making masks and prosthetics out of anything he could get his hands on, just as it is documented Savini did during his younger years. 

Tommy’s blossoming artistry and innovation is what beckons the film’s applauded conclusion. After copious events unfold, a hammer wielding Jason breaks into the Jarvis’, but just as he’s about to land a fatal blow on the terrified Trish, Tommy saves the day. It transpires that Tommy has found old newspaper clippings detailing Jason’s disfigured face and the horrid past that led to his vengeance. In a quick attempt to stir the psyche of the beast, Tommy hastily shaves his head, resembling a young Jason. Despite the grave risk, his plan roars triumphantly as Jason is captured and almost immediately gravitates with a childlike innocence towards Tommy, seeing his younger self alive and well. However, Jason’s fever dream is quickly interrupted as Trish brings down the machete to his head, knocking off his infamous hockey mask to reveal a horribly warped face before he stumbles to the ground as Tommy seemingly reaches madness and further pummels him into oblivion.

Tommy undergoes a terribly traumatic transformation to save the day. Essentially, he becomes one with the monster, which is only exaggerated by his rampant attack, overkill even, on Jason after the villain’s lifeless body flops to the floor. Prior to this scene Tommy discovers the tragic backstory that catalysed Jason’s descent; seeing this paired with his transformation of embodying the monster and then relishing in the demise all unleashes a beast hidden deep within Tommy that may have otherwise remained locked up. 

The film’s finale sees Tommy stare blankly into the camera with a chilling coldness that mirrors Jason’s exact dispassion for human existence. The figurative expression towards Jason and Tommy’s symbiosis opens the film up to a world of possibilities that rings familiar to the first Friday the 13th’s retrospective analysis with all of its discussion about the horrors of maternal devotion. The Final Chapter is steeped in a seriousness that is not easy to craft as efficiently and naturally Zito has. The film still has that primitive nastiness to it that has horror hounds howling at the screen, yet the film is not one long novelty act that aims to solely appease the senses. It does not over extend its analytical gravity to the point of pretentiousness, but it is not afraid of baring its teeth and taking a bite into the critical details.

Even from a retrospective point of view, the film exercises a balance that is notoriously difficult to achieve; it creates a world of lore and backstory without over complicating and propelling the film away from its slasher roots that everyone has come to know and love. As of this year, The Final Chapter completes its 40th year around the sun, and yet, the film seems to have only gotten better. It has been a solid 15 years since the last Friday the 13th film was released. Considering that the next entry would be the ‘13th’ number, a possibly brilliant jumping step would be taking inspiration from the absolute fan favourite classic that is Friday the 13th: The Final Chapter…

Want more top horror lists and reviews? Check out our blog here..

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Reviews

Retrospective – Friday the 13th Part III (1982)

friday the 13th part 3
felt like doing this, here's the posters of each Friday The 13th movie, in release order obviously. : r/fridaythe13th

Chris (Dana Kimmell) brings along her boyfriend Rick (Paul Kratka) and a group of their friends to Chris’ lake house at Crystal Lake for a boozy weekend. Little do they know Jason Voorhees lingers, waiting to attack.

13 Things You May Not Know About Friday the 13th Part 3 – We Minored in Film

“Ki ki ki, ma ma ma”… Whenever this death siren plays, a machete wielding iron man appears into frame, donning blood stained clothing and that oh so iconic hockey mask… Jason is here. 

It’s these intrinsic qualities that have meshed itself into horror history, ensuring legendary status for decades to come. But, not all of these Friday the 13th staples were introduced in the 1980 slasher that started it all, instead it was in the series most underrated film, Friday the 13th Part III where Jason’s iconic status kicked off. 

Friday the 13th Part III – [FILMGRAB]

Friday the 13th Part III (1982) directed by Steve Miner is the entry that changed the entire game for both the franchise and the genre in general. The setup for Part III takes place directly after the sequel, where Ginny Field (Amy Steel) managed to fight off Jason with his own weapon. However, the slasher laws obviously dictate that the killer is never dead, nicely setting up the events for the next film to follow. Miner introduces the new generation of victims through enacting a rather predictable, nevertheless effective plot following a group of teens heading on a trip to Crystal Lake. The night is rife with the standard debaucheries followed by stabbings, slashings, and gouging’s that naturally come with 1980s splatter fests, but it’s within this air of familiarity and expectedness where the film thrives. Unique takes at cat-and-mouse chase kills highlight what Part III does best, and whilst it is still a great and easy popcorn movie, Miner divulges into heavier themes such as arising trauma. 

Friday the 13th Part III (1982) - IMDb

At one point Part III’s final girl Chris, discusses the reason why she previously left Crystal Lake–A deformed man attacked her, hinting at a possible assault. After all this time she’s plucked up the courage to return to the dreaded grounds that left her shaken in hopes of facing her fears. The necessity of the plot point is irrelevant, what truly matters is that Chris is one of the first final girls akin to other survivors such as Jess Bradford (Black Christmas, 1974) who are fully fleshed out, willing to survive through critical thinking, and most importantly Chris challenges the archetype of the ‘survivor’, shaping the final girl character that we all know and love today.

Friday the 13th Part III (1982)

The fruitful execution of Chris embodying the opposite of a montonous recycled scream queen is brazen, leaving her counterparts to come across as even more braindead and fun to see fall. The rest of the group are just meat for Jason to devour, and whilst their annoying tone could have been a fatal mistake it only works to the films benefit. Jason is ruthless, vile, and downright savage, definitely not a happy camper. Some of the franchise’s best kills reside in Part III, especially with the oh so icky pitchfork through the jugular kill, or the old’ spear through the eye. It doesn’t get better than that! 

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Jason has remained one of horror’s most prolific serial killers, as well as being extremely culturally referenced and recognised all thanks to the iconic mask. Masks are inherently rooted within depictions of cinematic psychopathy, shielding emotions, and denoting the killer to be anonymous, creating a god-like power to be feared. Originally, there were plans for Jason to wear a mask, but there wasn’t any particular cover chosen yet, nor was it particularly important to the story. Jason’s mask came about as an accident as the film’s makeup artist Doug White and his crew didn’t want to apply the laborious makeup to Jason just for a light check. Luckily enough a crew member brought in their hockey gear, and they were able to borrow the face shield. From that day forward movie history was made. 

Friday the 13th III

Watching such an immensely entertaining film emits a vibe, one that is perfect in a cinema, meant to be watched in a crowd to here the boos, experience the howling’s when Jason finally brings the machete down to his victim, and to feel the jolt when he jumps out from a dark corner. Part III’s box office smashing figures was due to the epic extravaganza that Miner captures, and the use of 3D technology that soared the gore to the next level. Every possible image that would benefit from being 3D was used, with every whack and weapon thrown being a complete immersive stab at the audience.

Friday the 13th Part III' Turns 35! - HorrorGeekLife

Another element of surprise for Part III lies within the first drafts of the script. Ginny was supposed to reprise her role as Jason’s arch nemesis, continuing the franchise with her being the Laurie Strode within Jason’s path. However, Ginny’s riddance moulded this replaceable element towards the characters in Part III. Each film in the franchise is individualistic, with the only consistent factor across the continuing nine films being Jason, and this is all linked back to Part III’s encouragement of going off in a new direction. Many slasher films ended up following in these footsteps, keeping the excitement alive, and commemorating the villain over the protagonist every single time.

The Horror Digest: Friday the 13th Part III: You Stink

Throughout the film there is a constant riveting energy that only adds a punchy injection to the overall camp demeanour and excess of exaggerated kills. It may be 40 years since its release, but Part III is still an exhilarating trip into the slashing world of Jason Voorhees.

We’ll be screening Part 3 in 3D this May, more details here.

Looking for more top horror lists and reviews? Check out our blog here..

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Reviews

Original vs. Remake: Friday the 13th

friday the 13th

Friday the 13th has become ceremoniously linked to the birth of 1980s horror. From amateur viewers to horror connoisseurs the character of Jason Voorhees rings familiar, primarily due to the Friday the 13th franchise spawning twelve films and the fact that altogether the series has grossed approximately $755 million, but what truly endorses the slasher’s core reputation is it’s kickstarting of sleazy, rampant, and violent horror’s that progressed into one of the most dominating subsections of the genre. 

The birth of the slasher is tricky to nail, as truthfully John Carpenter brought the essentialities to the forefront in 1978 with the knife-wielding maniacal Michael Myers in Halloween. Whilst Halloween was crowned by critics, Friday the 13th was torn apart in reviews. Despite the lack of applause Sean S. Cunningham’s conduction of a summer of nightmares has grown into an absolute sensation. 

The financial success of previous horror films pinged a lightbulb in a young Cunningham, who had previously worked with Wes Craven on The Last House On the Left (1972). It seems harsh to call the beloved Friday the 13th a cash grab, but at the roots, that is what it was. In 1979 Cunningham with no legal trademarking over the title placed an advert in Variety for the film (pictured above). At this point, the production team was not established, nor were any locations, actors, or equipment.

This really was a wild chance, luckily enough it paid off with independent financers flooding in to score on this soon-to-be hit. From this point on, the history of Friday the 13th was written, with the film thriving in its banal dialogue, cringe acting, gratuitous nudity, cliched characters, and jump scare ending. The corniness could be easily perceived as crude schlock, but its self-aware texture and bendy edges make the film loveable and a true iconic cult classic. 

The overarching stylisation is what has kept Friday the 13th on its pedestal, primarily thanks to special effects artist and makeup designer Tom Savini. Savini was already celebrated thanks to his work in Dawn of the Dead (George A. Romero, 1978), and in Friday the 13th his talent was only further exhibited, with his depiction of some of horror’s most notorious kills being down to his staggering creations. Through his work, Jason was born. Originally in Victor Miller’s script Jason’s mother Pamela would be the sole antagonist. Her fatal decapitation was the end of the chaos, with Alice’s (Adrienne King) appearance in the boat ending the film. The ending we all know and love was nowhere to be found. That was until Savini noted that Carrie’s (Brian De Palma, 1976) jumpscare ending left a mark on the viewer.

Jason’s deformed entrance belonged to Savini, and rightly so, as Voorhees disfigured front gave a lingering spark to the film. The fear factor across the film won’t necessarily leave you with nightmares, but Alice’s dream of a mutilated Jason leaping out of the water and grabbing her by the throat to drag her down into the dark grubby waters goes straight for the jugular and ensures an impact is made. 

Concerning Friday the 13th’s most intrinsically complex element is the breakage of the masculine stalker convention, as Jason’s mother Pamela (Betsy Palmer) is Camp Crystal Lake’s grounds-killer. Her motivation revolves around vengeance, as she gets her comeuppance against the neglectful camp counsellors who let Jason drown due to their own selfish desires. Since Jason’s death Pamela has ensured that the grounds of Crystal Lake were abandoned, and whoever dared to set foot on the soil met a tragic death, as revealed in the first act by the locals.

As much as Jason circles the entire franchise, Pamela is the creator of this destruction, her damning degree of psychosis is the catalyst across the entire film. As unconventional as the villain is, what we know and love about the Friday the 13th franchise is the character of Jason, that’s not to say that the deeper conceptual levels of maternal devotion are not appreciated, in fact, Part II and Part III take aim at the seedy underbelly of his madness, but in Part I there is a slight lack of flashy barbarity that Jason brings to the table unlike anyone else. 

The 2009 remake targets the story portrayed in the 1980 original, but it also elicits Jason as the primary destructor. The first four films in the franchise conjure an intense mythos, and rather than banning any of this build-up in the remake, director Marcus Nispel dives into the deep end and packs these four films into one giant reimagining. 

Nispel’s creates a lean, vibrant, ambitious, and dramatic take on Cunningham and Miller’s slasher. The remake is not entirely monotonous, yet the gory facade is just that, a veil. Do not expect tense thrills as this horror is not necessarily a landmark in genre cinema, instead, its consensus still remains rather negative. Certain criticised factors are understandable, but then again there are some brief and hidden moments of distinction wavering across the 1hr 46min runtime. 

The first aspect that battles against the criticism is the stellar opening scene that shows Jason (Derek Mears) at his most ruthless. The film opens with a brief backstory of Jason watching his mother’s beheading, feeding his killer drive. Flash forward to thirty years later we see a group of friends as they venture into Camp Crystal Lake to search for marijuana crops. As night falls, tents are set up and their debaucheries begin, but Jason arrives on the scene and the peace is truly disturbed as the camp becomes a bloodbath once again.

Multiple deaths occur within the first twenty minutes, setting the path for the rest of the film. The opener takes great and memorable moments from previous films and amps them up to create a gritty, twisted first act. The iconic sleeping bag kill in Friday the 13th VII: The New Blood (1988) is recreated, but instead of the fatal blow being a whack against the tree, we see his victim hanging from a tree in a sleeping bag burning alive over a roaring campfire. The human-toasted marshmallow is not the only feisty punch thrown in the opening, as we are also treated to hacked-up bodies, nasty bear traps to the ankles, and a clean machete blow straight to the forehead. 

Although these deaths are pretty gruesome and entertaining for fellow horror nerds, the film does reach its peak here. The enthusiasm for exhilarating bursts drops and there isn’t any remaining mitigating factors, besides the overall ‘look’ of the film, but style over substance isn’t enough to cut it.

It seems that the general opinion concerning the mixed bunch of personalities tends to lean towards the cynical side. No one is particularly likeable and minus three people, they are all extremely irritating, verging on the side of unbearable. In homage to the original, the gender roles are switched as there is no final girl, instead, we follow Clay Miller (Jared Padalecki) as he attempts to hunt down his missing sister Whitney (Amanda Righetti), who was one of the campers in the opening scene. Across his journey, he stumbles across Jenna (Danielle Panabaker), her boyfriend Trent (Travis Van Winkle), and their friends Chelsea (Willa Ford), Bree (Julianna Guill), Chewie (Aaron Yoo), Nolan (Ryan Hansen), and Lawrence (Arlen Escarpeta).

Trent and his posse travel to his rich parent’s cabin bordering Crystal Lake and soon chaos breaks loose. The plot remains very bland and overdone. We could have been spared some boredom by creating some real inner tension, and by making the characters more than just docile bodies waiting to be flayed. 

Their dialogue is beyond laughable, as the majority of their lines wouldn’t be out of place in a slapstick comedy. The “stupendous” female characters are portrayed as nothing but eye-candy, and the men (besides Clay) follow them along like drooling puppies. It’s funny at first, but the humour soon wears off when the film acts like a horror version of American Pie. 


The original is not a perfect film, but it is beloved. For what definitive reason I’m not entirely sure, but the creepy atmosphere, combined with good old practical effects still holds up to this day, which is only furthered by the nostalgic factor. And although the remake attempts to claw away from the typical ‘cat and mouse’ game that Jason plays by throwing in a hostage story, it ultimately falls flat.

Cunningham’s Friday the 13th is perfect for a sentimental fun watch when you’re in the mood for an energetic slasher. Nispel’s re-envision is great as a popcorn movie, but that’s it, its reputation hasn’t soared nor has it gained too much of a following. So in this battle of original vs remakes, 1980 smashes it out of the park!

Love to read more about the iconic horror villain? Check out our article on Jason Voorhees here.

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Curiosity Corner

Jason Voorhees – cold blooded villain or tragic victim?

Sean S. Cunningham’s 1980 hit Friday the 13th is undeniably a staple within the slasher sub-genre, with its chartered success spawning an entire franchise consisting of twelve films. The film has rightly cemented its place within horror history as a genre defining tale that combines the ideal amount of gory entertainment, teenage antics and grisly kills to satisfy audience members. Still, it’s the machete wielding immortal force that makes Friday the 13th so iconic – the one and only Jason Voorhees.

To run a brief background, Jason Voorhees is the primary antagonist in the film series, with a machete being his weapon of choice. To accompany his machete is his hockey mask which he’s rarely seen without. His taste for bloodshed all began with his troubling experience at Camp Crystal Lake in the summer of 1957 where he supposedly drowned due to the negligent camp counsellors. His rage however is not as straightforward as it seems. His own personal vengeance only directly advances in Friday the 13th Part 2 (Steve Miner, 1981).

Throughout the series Jason is very much pliable in the sense that his actions, locations and abilities change. However there is one element that remains consistent across the films, this being Jason’s tragic cycle that he has to endure. This was most poignantly made visible from the horror legend Stephen King who made a statement regarding a scenario he had created surrounding a previous novel idea he never made. He compared Jason’s existence to a ‘hellish existential fate’ and that Jason’s perspective is never explained or understood.

With this being said, it’s important to examine Jason’s catharsis throughout the series to grasp why he is a victimised villain.

Jason Voorhees is a tortured soul that possesses an inherent thirst for normality, but due to the lack thereof he has become incandescent with rage. His trouble began whilst he was only a boy, with his severe mental disabilities and physical deformities making him an easy target for cruelty growing up. His brief stay at Camp Crystal Lake only worsened his everlasting marginalisation from societal normality. He was bullied and teased at the camp, with his death being brushed aside as not an overt loss.

Jason’s only companion was his mother who worked at the camp; he would spend most of his time with her, leading to his peers mistreating him. This neglectful nature followed Jason to his death. As aforementioned the counsellors cared more for each other than his well-being. Even after his death, his corpse was never found. Which prominently led to Pamela vowing to kill anyone who steps foot on Camp Crystal Lake as she believes everyone is out to attack her son.

Jason suffered from a short-lived tumultuous childhood, but the true treacherous fragment of his being comes from his afterlife. The theology of his immortal status is rather discombobulated across the films, the first film hints that the lack of his corpse is more of an urban legend, toying with the notion ‘is he dead or alive?’; in Friday the 13th Part 2 it’s established that Jason has been alive since his supposed drowning and has been living as a vagrant in the woods.

This perfectly brings about Jason’s real introduction to the series, which would soon introduce him as a household name. In Part 2 he vows to avenge his mother’s death, leading him to follow her footsteps. In fact, he treasures his mother so much that he stores her decapitated head in a fridge. Whilst the second film establishes Jason’s urge to kill, his trademarks do not necessarily appear until Friday the 13th Part 3 (Steve Miner, 1982). Here we are introduced to his trademark hockey mask, which cements his place as an iconic villain. Additionally, the audience is shown a whisper of insight into his burrowing nature to kill. After he kills his mother’s murderer, Alice (Adrienne King [the series original final girl]) he has technically performed his prior intentions.

From then on his remorseless kills originate seemingly from a place of nothing. Jason’s fury was soothed after he murdered Alice, but he knows no better than to carry on his rampage. It could be said that Jason isn’t even aware of the consequences of his actions.

Although Jason is a structurally massive killing machine with brute strength, he hasn’t matured mentally. Slasher films heavily associate sex with violence, yet whilst Jason victims are simply exploring adulthood he views it as immoral, since his own supposed death was caused due to camp counsellors occupying each other rather than watching after him. This sense of Jason unknowingly causing harm continues throughout the entirety of the franchise, with his lack of motivation or reason to kill. However what really makes the audience team with Jason is his unsanctioned resuscitation.

In Friday the 13th: The Final Chapter (Joseph Zito, 1984) Jason is supposed to be dead, with him even being taken to a morgue, but as usual this is not entirely true. We are then taken back to Crystal Lake as Jason makes his way back home in an attempt to beckon back to his resting place. Instead of peace, he is met with rowdy teenagers and noisy families in his area interrupting his will to slumber into a dreary space of emptiness. Henceforth, his killing spree continues as a means to end the disruption.

However in what is a startling scene, we are met with the horror aficionado Tommy (Corey Feldman) who paints his face white and shaves his head to imitate a young Jason in order to force a sense of sympathy from him. His impression comes across as a form of mockery, further angering Jason. Arguably Jason simply sees Tommy as another one of his childhood bullies who would tease him for his appearance. Jason is supposedly killed at the end of The Final Chapter, but we would later learn that this is not his final appearance.

The combination of mocking and disallowance for him to die is what Stephen King brought to light. His existence is hellish and rather existential, through others actions he can never fully rest in peace as he is constantly unearthed. Even when he is not the antagonist the series finds a way to drag him into the mess; in what is the most dissociated film in the franchise, with a new setting and killer is Friday the 13th: A New Beginning (Danny Steinmann, 1985). In the film Tommy is sent to Pinehurst Halfway House to recover from his childhood trauma, whilst he is there a series of mysterious killings occur. Instead of the hockey mask machete-wielding killer being Jason it is in fact a disgruntled father who is out for revenge for his son’s untimely death.

After ‘A New Beginning’ came Friday the 13th Part VI: Jason Lives (Tom McLoughlin, 1986) which sees Jason being accidentally resurrected from his grave. When Tommy returns to Jason’s grave years later he is overcome with anger and stabs Jason with a metal fence post. However as the post hits Jason a bolt of lightning strikes and revives a now immortal Jason. Similarly, another accidental reviving occurs in both Friday the 13th Part VII: The New Blood (John Carl Buechler, 1988) and Friday the 13th Part VIII: Jason Takes Manhattan (Rob Hedden, 1989). In both films repeat occurrences happen where Jason is involuntarily awoken and then goes on a rampage with a sense of angered dread, due to the repetitive nature of his life cycle. It seems that the universe disallows Jason to remain dead. The characters wince that Jason is after them, but it is their actions that unwittingly cause the vicious pattern.

Quite ironically in the ninth film Jason Goes to Hell: The Final Friday (Adam Marcus, 1993) Jason lives on due to a coroner biting his heart, causing him to possess said coroner; living on in the coroner’s body. However in what is quite the twist of fate, the repetitive ending of Jason ‘being dead’ is given a new lease of life, with the ending hinting at what would be an iconic meeting between two horror legends. The final frame shows a dog digging at Jason’s buried mask before A Nightmare on Elm Street’s own Freddy Kreuger pulls the mask down into hell.

Before we are introduced to the crossover film we have Jason X (Jim Issac, 2001). This is probably the most convoluted film of the series, with its adventurous sci-fi tone somehow combining slasher with space. Jason X definitely has divided opinions, with many devoted fans feeling confused as to why there needed to be such a drastic alteration from the usual time and place and others seeing it as a cult classic that bends audience expectations. In terms of Jason himself, nothing immediately differs from his archetypal persona in space. Instead where we see a shift in motion is in the series current penultimate film Freddy vs. Jason (Ronny Yu, 2003).

Freddy vs. Jason is highly entertaining, with the two characters showcasing a brutal spectacular series of violently glorious kills across a group of unsuspecting teens. The film shows a ruthless Jason who rises from the earth when Freddy impersonates his mother, in order to manipulate him into coming back to life. Freddy has Pamela tell Jason that he never died, he was just sleeping and that he should go to Elm Street as “the children have been very bad on Elm Street”. Here it’s confirmed that Jason is acting on a means to obey and order via his mother’s wishes; he only seeks to punish as it’s what his only beloved trustee believes. It’s clear that Jason’s hellish fate derived from his attachment issues with his mother. He has remained a child mentally, with his mother having a psychologically overbearing influence for his whole existence.

It seems that Friday the 13th will never come to a conclusive end, with the final film so far – Friday the 13th (Marcus Nispel, 2009) latently repeating the pattern all over again. This film is a remake of the first and disregards all the previous entries. The ending remains eerily similar to the original, with Jason lurching out one more time in a lake at the final girl. Devastatingly enough the repeating of final frames indicate that the process has started all over again.

Jason is corruptly entangled with his obsolete moral compass focused on him and his mother’s neurotic relationship together. His unfortunate trauma has never faded and no matter what ill-conceived acts he commits it’s difficult to feel hatred towards him. Somehow we are routing for Jason the majority of time, with his victims seeming rather disposable and unworthy of true survivor status. Pamela will always have a hold on Jason and will always encourage his murderous tendencies, leading to a vicious cycle where he must live forever to kill.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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News

This week in horror – news round up 17.07.20

Here’s our first horror news round up, a couple of this weeks biggest stories and happenings in the genre!

Friday The 13th – Epic 16 disc franchise collection announced

Scream factory confirmed a leak on Monday 13 July (obviously), that a brand new franchise collection including all 12 films will be released on 13 October 2020. Rumours had been rumbling since March this year when a cast member of Jason Lives mentioned the new box set, and the collection had also been spotted on amazon briefly as unavailable. Fans will not be disappointed as there will be 4k restorations of the first four films and bloody bags full of new content from each film to wade through.

Fans lucky enough to get their hands on the 16 disc collection through Scream Factory will receive; an exclusive limited edition 36” x 24” lithograph featuring new artwork from artist Devon Whitehead and limited edition 24” x 36” Friday The 13th 40th anniversary poster with new artwork from Joel Robinson. The collaboration with Paramount Studios has already crashed the SF website so its fair to say you’ll need to get in there quick to bag a copy! (Link below)

https://www.shoutfactory.com/product/friday-the-13th-collection-deluxe-edition?product_id=7444

‘Chucky’ – TV series coming 2021

Don Mancini creator of the the Child’s Play franchise shared a teaser (below) of a new series ‘‘Chucky’‘ coming to USA and Syfy in 2021. ”Chucky” has been described as a ”fresh take on the franchise” that’ll ”explore Chucky’s character with a depth that is uniquely afforded by the television series format”

“After a vintage Chucky doll turns up at a suburban yard sale, an idyllic American town is thrown into chaos as a series of horrifying murders begin to expose the town’s hypocrisies and secrets. Meanwhile, the arrival of enemies — and allies — from Chucky’s past threatens to expose the truth behind the killings, as well as the demon doll’s untold origins as a seemingly ordinary child who somehow became this notorious monster.”

Here at Dead Northern were beyond excited to see how this new series plays out!

Shudder’s ”The Last Drive-In With Joe Bob Briggs” returning for a third season in August

Horror fans will be pleased to hear on Tuesday it was announced the Shudder series was being renewed for a third season and some additional specials due as soon as this August. Shudder announced a special ”summer sleepover” double feature pre-taped prior to lockdown that will feature a visit to the trailer park from horror filmmaker Adam Green along with other surprise guests. The special episode will premiere on Friday 14 August.

In Memoriam – Kelly Preston

Actress Kelly Preston has died aged 57 after a 2 year fight with breast cancer, it was announced by husband John Travolta on Monday 13 July. Travolta posted on Instagram: “My beautiful wife Kelly has lost her two-year battle with breast cancer. She fought a courageous fight with the love and support of so many.”

The couple had been married for nearly 29 years. Preston’s career included roles in Twins, From Dusk Till Dawn (pictured above), Jerry Maguire and The Cat in the Hat. She also collaborated with her husband on Battlefield Earth and Old Dogs. Tributes poured in for the brilliant actress from the likes of Russell Crowe and Alec Baldwin, both having worked with her described her as a ‘lovely person’, ‘funny’ and ‘kind’.