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Friday the 13th Part 2 (DVD)

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Friday the 13th Part 2 DVD review!Reviewed by Johnny Butane

Starring Amy Steel, John Furey, Adrienne King, Stu Charno

Directed by Steve Miner

Released by Paramount Home Entertainment


Man it’s been a long time since I sat down with these movies, so maybe that’s why I’m best to be reviewing them and the job Paramount did with their latest DVD releases. Or maybe it’s because I’m more cynical and bitter now, but can still see the fun in mindless slashing.

Five years after the events of Friday the 13th, a group of would-be counslers head out to a camp adjacent to Camp Crystal Lake for some “counselor training”. Of course their proximity to Crystal Lake puts them in the sites of Jason Voorhees, who somehow managed to grow from deformed child to deformed adult in five years. I’ve heard of growth spurts, but that’s just ridiculous. Moving on…

Sadly, one of the first to go is the “It’s got a death curse!” guy from the first film, so there’s not even a chance of a red herring this time out. Jason starts picking off the kids one by one almost immediately, even laying a trap or two for them to prove he’s been living in the woods all this time and knows who to catch his prey. This may be the only Friday film that actually shows Jason’s home, at least that I recall (as I said, it’s been a while), where he keeps all his stuff, including the now-desiccated severed head of his beloved mother.

It takes child psychologist Ginny (Steel) to figure out that she can talk to him and maybe get him to listen if he thinks she’s his mother, donning the disgusting sweater and all, but her plan fails when he catches on that she’s trying to kill him. Maybe asking him to genuflect and raising a machete above his head wasn’t the best way to earn his trust?

Friday the 13th Part 2 DVD review!Friday 2 is filled with all kinds of neat deaths, most of which were cut to shit by the MPAA as were all the Friday films, but why did the poor guy in the wheelchair have to not only fall down one set of stairs after getting a machete in the head, but a second set that was three times as long? As if his luck weren’t shit enough, since he was just about to get laid, too! How did the MPAA let that slide past their watchful eye?

Being able to revisit it, I’m happy to say I really enjoyed this sequel. They didn’t spend too much time trying to establish elaborate backstorys for any of Jason’s fodder, but instead gave just enough info for you to kind of care before they were killed off. For the most part the pacing was good, too, though the over reliance on slow-mo took me out of the proceedings more than once.

Does it hold up to modern day slashers? Yes and no. In a sense it does because it knows that it’s a movie about a maniac killing people in interesting ways, and its focus is on setting up those kills. Today’s slasher films usually acknowledge that, as well, but feel you have to be really involved with the character’s drama before you watch them fight off the killer, which always mucks things up and makes it less fun. Friday 2’s pacing may be off in some spots, but it knows what it is and relishes in that, which is why it’s such a good time.

I should also say that it looks and sounds great, too. Paramount did a stellar job with the film’s cleanup so much so that you might be able forgive them for the features on this disc. Yes, let’s talk about the “special” features. Warning: some bitterness ahead.

All right, the first bit we have is an interview conducted by Del Howison, owner of Burbank’s Dark Delicacies, with Crystal Lake Memories author Peter Bracke. It’s quick, only about 13 minutes, informative and more or less a good watch, though it’s relevance to Friday 2 in specific is a bit unclear, which is a trend here…

Then we have “Friday’s Legacy: Horror Conventions”, a group of interviews conducted with Friday guests at a convention called Scarefest back in 2008, which is also where the reunion panel from the first Friday DVD was filmed (mystery solved!). Basically it serves as a promotional piece for the convention and has very little to do with Friday the 13th, other than chatting with the Friday stars about why they like cons so much.

Friday the 13th Part 2 DVD review!“Jason Forever” is footage from a Weekend of Horrors back in 2004 in which four Jasons, including Ari Lehman, were reunited; panel footage is intercut with interviews with the Jasons so it’s not as dull as it first seems. Just be careful, Ari spends a lot of time talking about his reggae band! Other than that it’s the most entertaining feature on the DVD, simply because its focuses is on the men behind the mask and their stories from making the movies.

Finally we have “Lost Tales From Camp Blood, Part 2”, which continues the murder spree that began on the DVD for the first Friday the 13th, only we find out it’s not actually Jason doing the killings but rather some normal looking guy in a hooded coat. Terrifying. It doesn’t conclude in any way, so one would only expect to see the final part on the DVD for Part 3, right? Wrong. This is it. Nice work, Paramount.

There is just nothing special about these features. It’s like Paramount couldn’t be bothered to actually compile features that had something to do with Part 2 (again, no participation from director Steve Miner at all) and just used features they couldn’t fit on the first Friday DVD. That annoys the shit out of me because I know the people who were involved wit this film’s creation would’ve been more than happy to talk about it. So yet again, Paramount cheaps out on Friday fans.

Get it if you didn’t get the existing box set, but there’s certainly nothing extras-wise that makes this disc worth a purchase.

Special Features

  • “Inside Crystal Lake Memories
  • Friday’s Legacy: Horror Conventions”
  • ”Jason Forever”
  • ”Lost Tales From Camp Blood, Part 2”
  • Trailer
  • Film

    “>“>“>“>

    4 out of 5

    Special Features

    “>

    1 out of 5

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    DIS Review – Not for the Faint of Heart!

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    Starring Bill Oberst, Jr., Lori Jo Hendrix, Peter Gonzales Falcon

    Directed by Adrian Corona


    I’ve made this claim many a time on this website before, and in the company of film friends as well: Bill Oberst Jr. is one of those actors that can literally be thrust into ANY role, and deliver a performance with so much harnessed electricity that you couldn’t believe that it was possible. I was the lucky recipient chosen to get a look at his latest project, titled DIS, and I think that I can honestly say – this is the stuff that nightmares are constructed of.

    Directed by Adrian Corona, this 60-minute dive into the black depths of hell, and in actuality DIS is located between circles # 6 and 9 in Dante’s Divine Comedy, and trust me when I tell you – there’s not a shred of comedic relief in this demented presentation. Oberst Jr plays an ex-soldier named Ariel, and his seemingly harmless jaunt through the woods will become anything but that, and judging from the film’s opening scenes, you are meant to feel as uncomfortable about this watch as any you might have checked out in recent memory.

    Perversion is the norm here, and lord help you if you’re caught where you shouldn’t be…my skin’s crawling just thinking about what I saw. Ariel’s travels are basically dialogue-free, but it only adds to the infinite levels of creepiness – you can tell he’s being stalked, and the distance between he and the horrors that await are closing in rather quickly.

    Visually by itself, this hour-long chiller can sell tickets without any assistance – hollowed-out buildings and long sweeping shots of a silent forest give the movie that look of complete desolation. Sliced up into three acts, the film wastes no time in setting up the story of a killer needing fresh blood to appease his Mandrake garden – seriously guys, I can’t type as much flashy stuff as there needs to be in order to describe this innately disturbing production.

    If you’re one of those types who tends to shy away from the graphic side of things, then I’d HIGHLY advise you to keep your TV tuned to the Hallmark Channel for some holiday entertainment, because this one registers high on the “I can’t believe someone thought of this” meter. So the quick recap is this: Oberst Jr in a standout performance, visual excellence, and an unshakable sense of debasement on a cellular level – keep the kiddies out of the living room with this one. Corona should be lauded (or locked up – just kidding) for his work on this one – HIGHLY recommended, and one that I’ll throw down as a top 5 for me in 2017.

    • Film
    4.5

    Summary

    Director Corona should be lauded (or locked up – just kidding) for his work on this one – HIGHLY recommended!

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    User Rating 2.92 (12 votes)
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    Todd And The Book Of Pure Evil: The End Of The End Review – A Heavy Metal Massacre In Cartoon Form

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    Starring Alex House, Bill Turnbull, Maggie Castle, Melanie Leishman, Chris Leavins, Jason Mewes

    Directed by Richard Duhaney and Craig David Wallace


    “Todd And The Book Of Pure Evil” – Canadian television’s greatest blend of Evil Dead, Superbad and Deathgasm? Yes. That answer is yes. For two face-melting seasons, Todd “protected” Crowley High from episodic villains who were bested by metal riffs, stoner logic and hormonal companionship. Musical interruptions showcased stage theatrics like Sondheim meets pubescent Steel Panther and high school tropes manifested into vile, teen-hungry beasts. It was like a coming-of-age story got stuck between Fangoria pages – all the awkwardness with 100x more guts.

    That – for worse – was until Todd fell to a premature cancellation after Season 2’s clone-club cliffhanger. Indiegogo became the show’s only way to deliver a feature-length finale, except to reduce costs and ensure completion, the project would have to be in cartoon form. Todd And The Book Of Pure Evil: The End Of The End suggests an animated curtain call for this otherwise live-action production, and from a fan’s perspective, familiar maturation follies befall our favorite bloodsoaked friend group. But for new viewers? Start with the far-superior original show – you’ll be lost, underwhelmed and baffled otherwise.

    Alex House retains his characterization of Todd Smith (in voice only). At this point, Todd has thwarted the book’s apocalyptic plan, Hannah (Melanie Leishman) has died, longtime crush Jenny (Maggie Castle) isn’t as horny for Todd anymore, and best friend Curtis (Bill Turnbull) has sworn Todd’s name to Hell (since Hannah was his girlfriend). Guidance Counselor Atticus Murphy Jr. (Chris Leavins) is now Janitor Atticus Murphy Jr. because Janitor Jimmy (Jason Mewes) is now Counselor Jimmy, yet Crowley High finds itself plagued by the same satanic uprisings despite these new changes. Why is evil still thriving! How is Hannah back in class! Who is the new “Pure Evil One” now that Todd has denied the book! Welcome to the end, friends – or is it a new beginning?

    At just north of 80 minutes, structure runs a bit jagged. We’re used to Todd battling one baddie over a half-hour block – backstory given time to breathe – but in The End Of The End, two mini-boss cretins play second fifth-fiddle to the film’s big-bad monster (well, monsters – but you’ll see). A double-dose of high school killers followed by a larger, more important battle with the gang’s fate hanging in the balance. Not a problem, it’s just that more length is spent singing songs about Todd’s non-functioning schlong and salvaging relationships from the S2 finale. Exposition (what little there is) chews into necessary aggression time – fans left ravenous for more versatile carnage, underwhelmed by the umpteenth cartoon erection gag. Did I mention there’s a lot of boner material, yet?

    These two mini “chapters” – “No Vest For The Wicked” (yarn demon)/”Zits Alors” (acid acne) – never come close to rivaling Hannah Williams’ doppelganger bombshell (“Songs About Boners”/”This Is The End Of The End Of the End”). Hannah [X]. Williams waking up in a room full of other Hannahs, emerging from some sleep-pod chamber; Todd’s gang facing off against this new “chosen one” in a way that erases “Sack Boy” and “Pizza Face” from memory. The End Of The End dashes dildoes-swinging into the show’s biggest mystery while dropping call-backs and bodies with equal speed – maybe too hastily for some.

    Now, about the whole pivot to animation – a smooth rendering of Crowley High and all its mayhem, but never representative of Todd And The Book Of Pure Evil‘s very Ash Vs. Evil Dead vibe. All the practical death effects (gigantic man-eating cakes, zombie rockstars) are lost to one-dimensional drawings, notable chemistry between cast members replaced by edited recordings lacking signature wits. This isn’t Metalocalypse, where dismemberment and bloodshed are gruesome on levels that outshine even live-action horror flicks. There’s no denying some of the magic is missing without Chris Leavins’ “creepy uncle” overacting (a Will Forte breed) or the book’s living incarnations of evil. Todd And The Book Of Pure Evil: The End Of The End plays hooded minion to Todd And The Book Of Pure Evil’s dark ruler – less powerful, a bit duncier, but still part of the coolest cult around. Just try not to think about how much radness is missing inside hand-traced Crowley High?

    It’s hard not to strike comparisons between “reality” and ‘toon, because as noted above, live actors are sorely missed in a plethora of situations. Be they musical numbers, heretic slayings, Todd and Curtis’ constant references to wanking, wangs or other pelvic nods (no, for real, like every other sentence) – human reactions no longer temper such aggressive, self-gratifying cocksmanship. It doesn’t help that songs never reach the memorable level of “Horny Like The Devil,” but the likes of House, Leishman, Turnbull and Castle were masters of selling schlock, shock and Satan’s asshole of situations. Instead, lines now land flat like – for example – Leavins’ lessened ability to turn pervy, stalkerish quips into hilarious underage stranger-dangers. Again, it’s not Metalocalypse – and without that kind of designer depth, a wall prevents inter-dimensional immersion into Todd’s extracurricular madness.

    If this review sounds over-negative, fret not – it’s merely wishes of what could have been. None of this is to say Todd And The Book Of Pure Evil: The End Of The End should be skipped. When you’re already known for masterstrokes of ballbusting immaturity, metal-horned malevolence and vicious teen-angst creature vanquishing, expectations are going to be sky high. Directors Richard Duhaney and Craig David Wallace successfully service fans with a smile, ensuring that rivers of red scribbled blood spurt from decapitated school children just like we’re used to. It’s just, I mean – ugh, sorry, I just have to say it one more time. BY DIMEBAG’S BEARD, this would have been an epic live-action flick. As is? Still one fine-with-a-capital-F-YEAH return to Crowley High for the faithful who’ve been waiting some 5-or-so years in a Todd-less purgatory.

    • Film
    3.0

    Summary

    Todd And The Book Of Pure Evil: The End Of The End brings closure to hungry fans in all the ways they’d hope – albeit turned down a notch through animation. Over-the-top kills and headbanging metal riffs still reign supreme, they’re just drawn by hand instead of oozing practical effects this time.

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    User Rating 3.27 (11 votes)
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    The Shape of Water Review: A Quirky Mix of Whimsy and Horror That Does Not Disappoint

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    Starring Sally Hawkins, Michael Shannon, Richard Jenkins, Michael Stulbarg, Doug Jones

    Directed by Guillermo del Toro


    “True Blood,” Beauty and the Beast, and Twilight aside, the notion of romantic love between humans and otherworldly creatures has been a popular theme throughout storytelling history. The ancient Greeks told tales of Leda and the swan, while stories of mermaids luring sailors to their lusty demise were met with wonder worldwide, stemming from Assyria c. 1000 BC. To this day, there’s Creature From the Black Lagoon fanfic that’s quite racy… for whatever reason, some people are fascinated by this fantasy taboo.

    The new period film from co-writer/director Guillermo del Toro, The Shape of Water, dives right into the erotic motif with the tale of how Elisa (Sally Hawkins) and Amphibian Man (Doug Jones) fell in love. (While I personally could have done without the bestiality angle, I do applaud del Toro for having the balls to show what’s usually implied.) Having said that, The Shape of Water is about more than just interspecies passion.

    The Shape of Water is a voluptuous, sumptuous, grand, and melodramatic Gothic fable at times (there’s even a lavish 1940s style dance routine!), but mostly it’s an exciting and gripping adventure, pitting the good guys against one very bad buy – played with mustache-twirling (minus the mustache), bug-eyed glee by Michael Shannon. Shannon is Strickland, a sinister and spiteful Cold War government operative who is put in charge of a mysterious monster captured in the Amazon and shipped to his Baltimore facility for study. When using cruel and abusive methods to crack the creature’s secrets doesn’t work, Strickland decides to cut him open to see what’s ticking inside.

    Elisa, a lowly cleaning lady at the facility, has meanwhile grown fond of “the Asset,” as he’s called. She’s been spending time with him on the sly, not even telling her two best friends about her budding tenderness for the mute and isolated alien. She relates to him because not only is she lonesome, she’s unable to speak (an abusive childhood is alluded to – which includes water torture). Using sign language, she first tells out-of-work commercial illustrator Giles (Richard Jenkins), then her co-worker Zelda (Octavia Spencer), about the need to rescue her waterlogged Romeo from Strickland’s scalpel. Needless to say, it won’t be easy sneaking a classified government experiment out of the high security building.

    The Shape of Water is vintage del Toro in terms of visuals and accoutrement. The set-pieces are stunning to say the least. Elisa and Giles live in cozy, cluttered, age-patinaed apartments above a timeworn Art Deco moving-pictures palace; Strickland’s teal Cadillac is a collection of curves and chrome; and the creature’s tank is a steampunk nightmare of iron, glass, and sturdy padlocks. DP Dan Laustsen (Crimson Peak) does justice to each and every detail. Costumes (Luis Sequeira) and Creature (Legacy Effects) are appropriately stunning. The velvety score by Alexandre Desplat (“Trollhunters”) is both subdued and stirring.

    While the film is a fantasy-fueled feast for the senses, it’s really the actors who keep you caring about the players in such an unrealistic, too-pat story. Jones, entombed in iridescent latex and with GC eyes, still manages to emote and evoke sympathy as the misfit monster. Jenkins is endearingly morose as a closeted gay man surrounded by his beloved cats and bolstered by the belief his hand-painted artwork is still relevant in an ever-more technical world. Spencer is the comic relief as a sassy lady who’s hobbled by her station in life but leaps into action when the chips are down.

    Del Toro cowrote the screenplay with Vanessa Taylor, whose credits in the television world are numerous – but she’s probably best-known for her work on “Game of Thrones” – which adds an interesting and feminine perspective. The story definitely feels more comic-book than anything, which is okay I guess, but I prefer del Toro’s deeper delves into history and character (The Devil’s Backbone is still my fave). But, for those who love del Toro’s quirky mix of whimsy and horror, you will not be disappointed.

    The Shape of Water is a dreamlike, pulpy adult fairytale that dances on the surface of reality while remaining true to the auteur’s vision.

    • Film
    4.5

    Summary

    The Shape of Water is a dreamlike, pulpy adult fairytale that dances on the surface of reality while remaining true to the auteur’s vision.

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    User Rating 3.67 (15 votes)
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