A Friday the 13th Tribute To The Most Prolific Murderer In Movie History

January 13, 2017

It’s Friday the 13th, the unluckiest day of the year, or something. It’s sort of like a mini-Halloween, a tribute to the macabre, that’s sprinkled in throughout the year. Back in 1980, Director Sean S. Cunningham helped put together a film named after this fateful day. The series, Friday the 13th, now 12 movies deep and counting, gave rise to one of cinema’s most iconic serial killers — Jason Vorhees.

Friday the 13th was brutal, like Halloween but on steroids. The first film killed four more people than Halloween. But unlike the subtle Halloween, Friday the 13th featured vicious kills thanks to effects master, Tom Savini. But none of these kills count towards Jason Vorhees’ stat sheet. Jason only shows up as a little boy at the end of the first film after all.

Out of 12 Friday the 13th movies, Jason is the antagonist in 10 of them. And Jason didn’t slack off in any single film. On average, Jason kills 15 people per movie! No other cinematic serial slasher comes close.

In the real world, Jason makes a killing at the box office too. Michael Myers jump-started the slasher genre and gets most of the love, but Friday the 13th edges out Halloween as the second most profitable slasher film series.

1. Nightmare on Elm Street Series: 42+ million average per film.
2. Friday the 13th Series: 38.7 million average per film.
3. Halloween Series: 38.6 million average per film.

On the conspiracy side of things, Jason is a good luck charm. Before starring in Footloose, Kevin Bacon is stabbed through the heart by Jason in Friday the 13th Part III. Corey Feldman put an end to Jason in Friday the 13th Part IV and then went on to star in The Goonies, Lost Boys, and Stand By Me. Before becoming George McFly in Back to the Future, Crispin Glover danced his way to death in Friday the 13th Part IV. Now playing Dr. Caitlin Snow on The Flash, Danielle Panabaker met her maker as Jenna in the 2009 Friday the 13th reboot.

Thanks, Jason Vorhees, for massacring your way into our movie-loving hearts.

13 Fun Facts About Friday the 13th

1. 10 actors have played Jason Vorhees.

2. Only ONE actor, Kane Hodder, played Jason more than once.

3. Kane Hodder not only played Jason, but also plays Freddy’s glove coming out of the ground in Jason Goes To Hell.

4. Jason dons his hockey mask for the first time in Friday the 13th Part III. Before that, he uses a burlap sack over his head which is a nod to The Town That Dreaded Sundown (1976).

5. The Necronomicon and a knife from Evil Dead appear in Jason Goes To Hell.

6. Jason is not the killer in Part V where an imposter is wearing the infamous hockey mask.

7. Tom Savini suggested the jump scare ending introducing Jason.

8. Only 10 minutes of Jason Takes Manhattan features New York City and those scenes were filmed in Canada.

9. Composer Harry Manfredini looped fragments of dialogue to create the creepy “KI KI KI MA MA MA” sound effect.

10. Legendary rocker, Alice Cooper, performs the song “The Man Behind The Mask” for the soundtrack of Friday the 13th Part VI.

11. The camp used for filming in the original film is an actually summer camp still in operation today.

12. Friday the 13th Part VII was original conceived as “Jason vs. Freddy” but when that fell through the concept changed to “Jason vs. Carrie.”

13. In Freddy vs. Jason, director Ronny Yu wanted a giant demon hand to rise from the ground and pull Jason and Freddy down into hell for the final fight. EPIC!

Author’s Note: The featured image up top is actually a six-inch figure created by Sideshow Collectibles.

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Ben Affleck’s ‘Live By Night’ Is Dead On Arrival

Will Ashton

Things started to look promising for Ben Affleck. The actor/writer-turned-director flipped his misfortunes around as few can in the moviemaking business, going from one of the media’s easiest targets to one of our most lauded cinematic heavyweights — all in a matter of a few years. Much like Kevin Costner before him, Affleck honed his craft, developed his strengths, diverted his weaknesses and drove himself to the projects that spoke to him —and it worked. In fact, it worked kinda spectacularly. But none of us are infallible.

Affleck’s good fortunes were hard-earned and hard-wrought, but not boundless. One doesn’t climb a mountain without tripping for a few steps, and Affleck tumbles with Live By Night. He tumbles pretty hard, in fact. Clumsy, lumbering, overwhelmed, over-indulgent and just plain dull, Affleck’s fourth directorial effort is the exactly the kind of bloated, bothersome clusterfuck that comes to those who fly a little too close to the sun when the light shines oh-so-brightly on your tidings. One does not rise without falling. After years of rising back to the top, Affleck, once again, finds himself stumbling closer to the ground.

Based on the crime novel of the same name by Dennis Lehane, whom Affleck adapted prior with his immersive, intensive sophomore feature, 2010’s The Town, Live By Night is pulpy, expansive and varied in its ambitions in ways the actor/writer/director/producer’s past three films were noticeably more gritty, grounded and enclosed in their scope. A ’20s/’30s-based gangster noir fable laced with flair and lust, it follows noble-minded Joe Coughlin (Affleck), the son of a Boston police captain (Brendan Gleeson), WWI veteran and all-around good-hearted Irishman, in his descent into corruption, deception and ill morals. It’s a familiar, well-traveled narrative, and it never feels like anything else under Affleck’s eye.

Though the A-list filmmaker considered this one a long-gesturing passion project, Live By Night is a surprisingly sluggish, unenthused effort, with little-to-no signs of heart, passion or interest found throughout its monotonous, underwhelmed execution. Where Affleck’s previous films snapped and sizzled, this newest project flatlines and fizzles. In all honesty, it’s hard to see what exactly made him work so hard to bring it to life — well, other than the chance to return to Boston, wave around a quick-triggered gun in his white-collared suit and pretend to sleep with beautiful women, notably Sienna Miller and Zoe Saldana. The mood is muted, muddled and muffled, and it seems all-too-content to go through the tired tropes performed a thousand times prior, and a whole lot better elsewhere. It’s dreary and downplayed without honest conviction or inspiration, and it lacks emotional sincerity.

As a filmmaker with considerable clout and industry respect, Affleck should expand his efforts, and he does. Live By Night is a bigger, broader film than anything he directed prior, and it’s not necessarily incompetent in its execution. The violence hits and the morality can sometimes weigh heavily in a few key segments. There is also no shortage of pretty looking shots, courtesy of cinematographer Robert Richardson (The Hateful Eight), and the period production design can often dazzle. Additionally, supporting turns by Gleeson, Chris Cooper, Matthew Maher and, most especially, Chris Messina are quick to astound in their limited screentime. The latter, in particular, with his added weight and jokey persona, proves himself in ways the undervalued actor hasn’t gotten to prior. There are certainly good elements, and it isn’t hard to find things to celebrate. But nothing feels invested.

Affleck isn’t necessarily a performer with great versatility, but he knows how to impress in the right role. Joe Coughlin is not the right role. The irony that he literally wrote it for himself is not easily lost. Of late, the Gone Girl, The Company Men and, yes, Batman v Superman: Dawn of Justice actor has nestled into roles that fit into reserved, understated acting style well. But Coughlin’s journey, under Affleck’s vision and care, feels passive and disinterested. His transformation comes unearned, and you never get a full glimpse into his troubled, disquiet mental psyche. Coughlin can shoot someone like it’s nobody’s business, no doubt. Yet, we, the audience, never get a well-rounded glimpse into this deep-rooted melancholy unless it’s explicitly stated via monotone voice-over narration or clunky dialogue. Which is what leads to arguably the film’s biggest, most apparent shortcoming.

Live By Night most definitely feels like an adaptation. Where The Town flowed with froth intensity and heart-pounding excitement, found through tight action and focused direction, Affleck’s latest Lehane interpretation never finds its own rhythm and groove. It’s slower and more methodical than some of the writer/director’s other works, but without any real understanding or investment in these characters, that matters little and means next-to-nothing. It’s a movie that often tells instead of shows, and that makes it lack urgency when it needs to explain, in explicit detail, what is happening, why it’s happening and so forth. Any directness or assertiveness in Affleck’s past productions is deathly lost here. If his last three works raised a quick-beating pulse, this new one leaves you comatose throughout.

Affleck is a man with his fair share of highs-and-lows. His future will hold more highs, quite certainly, but Live By Night serves as his first clear behind-the-camera miss. Inactive, stagnant and without the spice or surprise that made the actor/director’s past projects often excel, it’s an absolute disappointment for Affleck in a year defined by them. He’ll likely rebound in no time. He isn’t one to settle, after all. But the climb won’t come as easy.

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‘The Bye Bye Man’ Review: 2017 Horror Is Off To A Rocky Start

EJ Moreno

‘The Bye Bye Man’ Is Shameless Fun But Offers Little Substance

You know exactly what’re getting when you watch ‘The Bye Bye Man‘. 2017’s first major horror release is the typical supernatural movie in vain of ‘Insidious‘ or ‘Conjuring‘ but doesn’t have the potential those films showed. In place of any serious attempts at horror were shockingly silly moments and some spotty CGI. The film is effective in delivering some scares but those moments are far and few between.

The story of the film goes as follows: Elliot, his girlfriend Sasha, and best friend John all move into a house off-campus. Almost instantly after renting the house, the paranormal events begin to happen. It isn’t until Elliot stumbles across a drawer with the name “The Bye Bye Man” written on it that things kick into overdrive. Once you see or hear the name of the “Bye Bye Man”, it begins to drive you crazy. The craziness doesn’t end until everyone is dead and taken over by the Grim Reaper creature.

Honestly, the story was simple enough and fairly harmless. It’s heavily borrowed from urban legends like Candyman or more recently The Slender Man but with no clear motive. On top of some lackluster acting, the whole mythos behind this title character goes unexplained and gives you no reason to care. At least films like ‘Insidious‘ gives you some backstory. All this does is attempt to explain how ‘The Bye Bye Man’ works but fails at that.

“Don’t Think It, Don’t Say It. Don’t Say It, Don’t Think It.”

What saves ‘The Bye Bye Man’ from complete failure are the scenes set in 1969. During an intense introduction with brutal (but bloodless) shotgun killings, the real paranoia of the ‘Bye Bye Man’ myth is felt. This intro is handled so effectively and easily became the only memorable thing about this movie. There was a few more flashbacks to the events in 1969 and they continued my good feelings towards it. I hope if this gets a sequel that it goes the ‘Ouija: Origin of Evil‘ route and goes into the past. Last year’s sequel was a vast improvement on the first ‘Ouija‘ film and this could have the same chance.

That’s basically how I felt in general about ‘The Bye Bye Man‘. I saw there was a few inklings of a good film but it never got close to its full potential. This began to lose me once director Stacy Title deciding to show the titular monster very early in the film and then quite often after. While actor Doug Jones is usually amazing with these creatures, it was a bit too much. Especially when his horrible CGI hell hound was added to the mix. Scaling things back and upping the atmosphere could have helped this film immensely.

[SPOILERS BELOW:]

All of this could have been ignored if it wasn’t for the horribly inept ending. Like last year’s ‘Light’s Out’, ‘The Bye Bye Man‘ decides to go the “suicide is the only way out” route. I’m personally all for brutality and nihilism but endings like this just come off lazy.

There’s been far darker films that haven’t used this as a way to simply wrap things up. Or there is a film like ‘Martyrs‘ that uses suicide to deliver the final punch in the face. But here…it’s the only way to beat the villain it seems. So do we get a franchise now where our lead is just going to end up dying each time because that’s how we’ve set this mythos up? That’s the moment I knew this was unredeemable even in a “so bad, it’s good” way.

Final Thoughts:

Finding a better tone for this would have helped. It reached some insanely campy moments like having iconic actress Faye Dunaway be lit on fire or some funny moments during their hysteria but it doesn’t go fully through. Then suddenly, the film tries to be genuinely creepy but stops when tension is really starting to rise. It was just messy. I’ve seen far worse in this genre but this isn’t how we need to be starting horror in 2017.

Synopsis: Three friends stumble upon the horrific origins of the Bye Bye Man, a mysterious figure they discover is the root cause of the evil behind man’s most unspeakable acts.

Genre: Horror
Country: USA
Directed By: Stacy Title
Starring: Douglas Smith, Lucien Laviscount, Cressida Bonas

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‘Exorcist’ Author William Peter Blatty Dies at 89

Larry Taylor - Managing Editor

January 13, 2017

William Peter Blatty, author of The Exorcist, has passed away at the age of 89.

Blatty’ adapted his novel, which William Fiedkin turned into one of the greatest horror films of all time, into an Oscar winning screenplay back in 1973. Friedkin himself tweeted the news earlier this morning:

William Peter Blatty, dear friend and brother who created The Exorcist passed away yesterday

— William Friedkin (@WilliamFriedkin) January 13, 2017

While The Exorcist became the pinnacle of horror cinema for the foreseeable future, it mustn’t be overlooked that Blatty wrote and directed The Exorcist III, easily the best of the sequels and a terrific thriller in its own right.

Blatty was and will always be remembered as a horror writer, producing stories into his twilight years, and but he also collaborated with Peter Sellers on occasion. He helped write A Shot in The Dark, the best of the Pink Panther sequels.

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Review: ‘Ninjak’ #23: Revenge is Beautiful and Brutal

Wesley Messer

Ninjak #23 marks the end of a long hiatus for me and the Valiant Comics Universe. Valiant is a comics company I do enjoy, but I frequently lose track of it. Then I saw this comic on the shelf, and immediately it had my attention. Seriously, “The Seven Blades of Master Darque” is a cool title in itself, and then the Ryan Bodenheim cover grabbed me. Yes, this is an example that having a cool cover can sell your comic. Then I saw that the comic was a jumping on point, which sealed the deal for me to grab this book. Now it is time to see if this comic lives up to the cool cover and killer storyline title. Join me for the adventure that is Ninjak #23.

Yep, I fell behind on Ninjak and all things Valiant recently and I picked a great time to jump on board.

Ninjak #23 is a brilliant jumping on point; the recap page does well in giving you everything you need to know. The focus of the issue involves an assassin named Roku and her history with Ninjak. They were lovers and then a lot of awful things happened and you’re good to go. Matt Kindt is so smooth connecting you to Roku and her character while operating as a great introduction to Ninjak. I’m behind on this series and now I want to know more about this comic. I’m wanting to dive into past issues to see what I’ve missed, that’s a good thing.

The entire issue mostly focuses on Roku and her escapades in breaking out a group of people out of prison. I won’t spoil why she’s doing it and the ultimate reason, but it works. You spend a lot of time getting to know Roku through this process and through the narration understand how wild this mission of hers is. Through each of these characters you get a larger piece of the puzzle and it feels organic to the comic instead of a massive info dump. You also get a lot of cool concepts and ideas in the midst of Roku’s journey keeping you constantly engaged in the story. It doesn’t hurt that all the characters introduced are fun in their own way too. I love a comic that’s friendly to a new reader and delivers a great book in the process.

It’s impressive honestly as to how effective this comic on both levels, a jumping on point and an inventive new story as well.

Now here’s the thing with being inventive with a story, you give the opportunity for the art team to cut loose. If this is your first issue of Ninjak, like it is for me, you’re in for a treat. Matt Kindt gives Marc Laming the chance to unleash pure beauty on the page. I love Laming’s sense of movement on the page, it gives such an exciting atmosphere to any page. The emotions have the right touch to them, just enough to convey the seriousness or fun of any given situation. The Codename: Mortar fight will be the one that I think will catch the eyes of many readers. It’s intense, it’s hard hitting and brutal in its efficiency. The designs are also wonderful, you get a good feel for each of these characters just by looking at them.

Here’s another part of the art I appreciate and gives you the scale of Roku’s mission – the look at the prison itself. A detailed look at the place does wonders to show how huge this place is and how deep it goes. The lettering is great throughout as well, especially in the introduction to each major location of the story. Dave Sharpe keeps it clear and concise in his lettering for how the prison works. Add in the powerhouse coloring of Ulises Arreola, notably the bright greens of the lasers surrounding Roku, and a great use of light and shadow in general and this comic looks great.

Did I mention I’m glad I picked up this book? Because I am, I really am.

This is a beyond glowing review. Seriously you should start reading Ninjak here. Matt Kindt gives you a great jumping on point for this series with a rocking art team to boot. Every inch of this book hits the mark and hits it well. A great looking comic with a killer story in the making. Don’t miss out on this one, it’s worth your time.

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Review: ‘Silence’ An Uplifting Look At The Power Of Faith And Suffering

Dewey Singleton - Film Critic

Continue

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New ‘Beauty And The Beast’ Photos Give Closer Look At The Beast

Ashley Carter

January 12, 2017

With a couple of months to go before Beauty and the Beast is released, new photos from the movie have surfaced online.

The new photos provide a closer look at some of the characters, including Beast (Dan Stevens).

One shot is a close-up of Beast. The other shot features Beast and Belle (Emma Watson) in a neglected part of the castle.

In addition, we also get two new shots of Gaston (Luke Evans) and his bumbling sidekick LeFou (Josh Gad).

The newest issue of Total Film magazine features the images.

Disney’s Beauty and the Beast is a live-action adaptation of the studio’s animated classic and features original music and several new songs.

Beauty and the Beast is in theaters March 17.

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Marvel’s ‘The Secret Empire’ Hints To The X-Men

Matthew Sardo

January 12, 2017

Marvel Comics Thursday afternoon released six promotional images for its next big event ‘The Secret Empire.’ Check out the gallery below.

Each image has a different tagline teasing several comic books and organizations.

Will Amaze You

Will Avenge You

Will Champion You

Will Defend You

Will Guard You

We Live In X-Citing Times!

No additional information was given at this time. Expect another announcement on Friday. As of now, fans can make an educated guess that Spider-Man, the Avengers, Champions, Defenders, Guardians of the Galaxy, and the X-Men are involved, along with Steve Rogers. ‘Secret Empire’ follows on the heels of Civil War II.

‘Secret Empire’ will release later in 2017.

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The Cover Of ‘Entertainment Weekly’ Brings ‘The Defenders’ Together!

Manuel Gomez

January 12, 2017

A new image from Entertainment Weekly finally brings all the Defenders together. The picture was taken during a photo shoot for the cover of next week’s issue of EW.

The scene where the characters meet was also described in some detail:

Each Defender has arrived separately at the offices of Midland Circle (a name that should sound familiar to Daredevil fans as the shady operation behind a giant, literal plot hole in season 2), and none of them expected to cross paths. But before they can properly meet and greet, the four have wound up trapped in the middle of a corridor and must brawl their way past a group of enemies. (Hey, Marvel loves hallway fight scenes ever since Daredevil pulled one off.) “Every one of them is following their own trail of bread crumbs, trying to unpack a mystery in New York,” explains showrunner Marco Ramirez, who produced Daredevil‘s first season before co-showrunning the second. “We wanted them all caught off guard. Once they’re in that room together, it’s kind of like, ‘Oh, s—, who are you?’”

You can check out the cover below and then head on to EW to get the full scoop!

The Defenders from Marvel Studios and Netflix will tie in previous shows Daredevil, Jessica Jones, Luke Cage, and the upcoming Iron-Fist.

The show stars Finn Jones, Mike Colter, Charlie Cox, Krysten Ritter, Jessica Henwick, Rosario Dawson and Sigourney Weaver. It is set to premier in 2017.

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WWE’s Attitude Era: Worst Period In Wrestling History

EJ Moreno

January 12, 2017

Attitude Era Saw A Rise In Popularity But A Decrease In Everything Else

Yeah, I’m saying it…I’d rather watch WWF/WCW/ECW Invasion era matches more than anything from the Attitude Era.

Being alive in the late 90’s meant you had to deal with a few inescapable pop culture moments. One of them would be South Park and the other one would be Monday Night Raw. WWE, then WWF, was finally becoming a household name again. Their shows were drawing in big crowds and even bigger ratings.

All this was because of the raunchy and controversial Attitude Era!

So with high numbers across the board, why do I say the Attitude Era is the worst in wrestling history? Below, I will dive into the reasons on why I think this beloved time in WWE isn’t that great.

History Lesson:

A little history about the Attitude Era will better step up this article for anyone new or needing a refresher. Following the major 80’s rise in popularity for wrestling and then a lackluster cartoony early 90’s, WWE was in desperate need for something new. This is when Vince McMahon and his team took a step back and looked at their competition. WCW was dominating in the ratings with the insane NWO storyline while ECW didn’t draw much but had a rabid fanbase.

WWE needed both of those things.

When was the moment that WWE kicked off “The Attitude Era”?

Many believe it’s when Mike Tyson was introduced for Wrestlemania XIV and teamed with DX. Others think it’s the birth of Stone Cold Steve Austin at King Of The Ring 1996. But for me, it’s Survivor Series 1997! The night of the infamous Montreal Screwjob is the exact moment WWE found a niche and ran with it. Slowly, Vince McMahon changed his brand from the once cartoony wrestling program to a Jerry Springer-esque TV show. From there, the business was never the same.

Cheap Imitation:

It’s come out now that Vince McMahon was paying Paul Heyman to use ECW talent during this time but McMahon should have also paid him for gimmick infringement. Not even just stealing the general tone but lazily doing it. Everything the Attitude Era wanted to be was actually happening in ECW. The wild matches with insane gimmicks, controversial stories, overt sexuality, and a youth-driven culture were things that made ECW special. WWE wanted it so badly that they began to mimic the “hardcore” style.

ECW wasn’t the only company that WWE was borrowing from. The Attitude Era was known for the breaking of “kayfabe” and introducing more real elements. This is what WCW started as early as 1995 when Madusa dumped the WWF Women’s Title in the trash on live WCW TV. Then came the formation of the NWO in 1996 and that pushed the line even harder. WWE needed to play catchup so they began the “wrestler vs authority figure” storyline with Steve Austin and Vince McMahon.

The stolen concepts of WWE go on. One of the most notable has to be the fact WWE decided to go live in 1999, years after WCW took Monday Nitro live. WWE also introduced a second show named Smackdown after WCW introduced their second show Thunder.

Can’t forget the inclusion of the Light Heavyweights after WCW launched a successful Cruiserweight division.

WWE took many things from other companies and rarely improved on them. Just lazily stealing so the bigger brand can take credit for the ideas.

Lackluster Matches:

For many “wrestling purist”, the Attitude Era isn’t really the best for them. Mat technicians weren’t the focus and more gimmicky matches were put on. You can name Mick Foley being thrown off a cage or Stone Cold stunning McMahon as iconic moments but those “highlight reel” moments were far and few between.

Basically from late 1997 to 2001 has some of the most forgettable matches of all time. There’s so many standout “moments” but the wrestling in-between the spots wasn’t up to par. How many X-Pac or Terri Runnels matches can you actually sit through?

There was also a complete disregard for any sensible booking. People complain about Sasha Banks and Charlotte tossing the Women’s Championship back and forth but imagine their reaction to the Hardcore Championship changing 10 times in a night!

Nothing mattered during this era. There was swerves during every match, wrestlers turning on each other randomly, and just no thoughtful booking. Storylines seemed to only last a month at most with rarely any longtime plans. This led to so many unfinished angles and less-than-stellar feuds.

The Better Era:

The era in WWE history that stands out to me as better than 90’s Attitude was the early 00’s Ruthless Aggression. Still more adult than modern WWE but with less juvenile humor, this era had superior wrestling and the ratings to back it up. During this period, a lot of technical wrestling was being showcased. There was no lack of insane gimmicks but some focus was brought onto wrestlers like Kurt Angle, Eddie Guerrero, Brock Lesnar, Rey Mysterio, and Edge.

After getting an influx of talent from different companies WWE bought out during The Attitude Era, they didn’t know what to do with them at first. It wasn’t until the infamous WWE Draft in 2002 that things started to make sense. Smackdown got a roster of amazing stars needing a place to shine while Raw was the land of Triple H.

Also, this is the perfect end of the story of WWE vs Everyone Else. After the Invasion Angle of 2001 happened, we had so many wrestlers from all over the place as well as the men who ran the companies. It’s amazing to think there was a time where Vince McMahon, Eric Bischoff, and Paul Heyman all worked in the same place.

The Positives:

I’m not saying it was all doom and gloom. This era created quite a few icons in the business like The Rock, Stone Cold Steve Austin, Triple H, and The Undertaker. Those were the faces of this time in WWF/WWF and perfectly encapsulate the Attitude Era.

Merchandise is probably the biggest highlight from this time. So many Austin 3:16 shirts were sold. Kids all over the world were doing the DX crotch chop. And you can’t forget The Rock and his millions of catchphrases. Everything said and done during this time was thrown on a T-shirt. But merch and memories doesn’t make an Era amazing.

Final Thoughts:

I do respect that this time in WWE brought wrestling to the forefront and did create some stars. Besides that, there’s not much else to enjoy. Now that it’s been all said and done, I think the Attitude Era was far more harmful than helpful to the future of wrestling.

Do you agree with my views on WWE’s Attitude Era?

Let me know in the comments below!

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