(upbeat music) - Welcome to Rise Smile Films, the film review podcast that mixes cinema with fine spirits. Journey with us as we encounter new, old, and strange films with the occasional dabble into sports and music. Proceed with caution as these podcasts feature spoilers and some mature language. This is Matt, and this is Jesse. - Today on TAP, we have Friday the 13th, part six, Jason Lives, starring Tom Matthews, Jennifer Cook, David Kagan, Renee Jones, Carrie Noonan, and C.J. Graham. Based on characters by Victor Miller, written and directed by Tom McLaughlin. Welcome back to Rise Smile Films, it's the most wonderful time of the year. Arguably my favorite tradition on the show here, which is it's October, Halloween's right around the corner, and it's time to get to that sinister six. Six films in on the respective big three slasher horror franchises. And as customary, we start first with the Friday franchise, we get caught up on the events of Crystal Lake, what's been going on over there. But six films in, Jason Lives from 1986. Yeah, this is an interesting entry, I know we're gonna have a lot to talk about here, and I told you on the phone, I had a bit of a surprise for you, which was our drink of choice here. So, this is Bib and Tucker, I think this was, you know, a lot of the Bourbons we buy, you know, it's like wine tasting, I don't know where you are on that kind of spectrum, but you know, after a while, it all starts to blend together, I couldn't tell you this was this label or from this winery. And sometimes with bourbon too, like there's probably very few people out there that can tell you, oh, that's that one or that's that one, and like a blind taste, right? Sure. But I know on the show, if we had like a top three like Bourbons, I think Bib and Tucker's making the cut. Oh yeah, we looked a very, very popular bottle between us. And, you know, off Mike, we were talking about the surprise you had, and boy, I think you delivered in spades this time, dude. Yep, thank you. So this is Bib and Tucker, double char bourbon, age six years, I'll read the little label for you here, is age for six years, a new American oak, then finished in a second, heavily charred barrel, giving this bourbon savory smoky notes, and an exceptionally smooth finish. I read that and I was like, ooh, barbecue. This is barbecue time. Yeah. And then they got like the cool cork. There's just, I love the look of the bottle. There's just a lot to really like about Bib and Tucker here. So I put a cap on that here. I'm gonna give us a little tasting music this week so we can enjoy this. (energetic music) Yeah, it smells wonderful, right? Nutty. Yeah, that's terrific. And it's a smooth finish, but it's got a nice little sting at the end too. Nice bottle, good choice, man. Never disappoints, disappoints. But hey, we gotta get a little caught up here 'cause last time on Friday the 13th, I think it's important to do this and then kind of get into how we got to this particular film here. So people don't remember, you can go listen to that episode. It was a lot of fun talking about that one, part five, a new beginning. It was supposed to be the new launch of a franchise with Tommy Jarvis, so I believe taking the mantle of antagonist at the end of that film. But for those that don't remember, the events of part five aren't Jason, it's Jason copycat, it's Roy, the paramedic who was so distraught by this child that he had no dropped off at this halfway house, got chopped up at the beginning and he decided to go on this mad rampage, 22 body count in and at the end of the film, I thought they did something fairly surprising and fairly interesting, which was Tommy's gone through so much traumatic events, it looks like he's gonna assume the mantle of killer. But guess what people, no one liked this movie when it came out. It made money, but the fan outcry, Frank Mancuso at Paramount definitely listened to, they didn't like this new direction and they really wanted to get back to their monster. And you know, you can't blame them, it's almost like making a Frankenstein movie and then for like a little side quest, it's just like we're following, you know, a fake Frankenstein, right? Another version like his cousin's project or something. You wanna get to the original flat top guy or drag, I don't wanna watch son of Dracula, I wanna watch Dracula, right? - Right. - But I'm always willing to take those risks and I like ventures into new uncharted territory, but I think they decided they needed to go in a new direction for this entry, get back to basics, bring back Jason in some fashion, maybe have a little fun with it because we are six films in, so let's not be so pseudo serious and let's stretch the material a little bit. So we'll get to see, you know, how successful that was at the end of the day, but just initial thoughts, what do you think of that? - The bottle or the with stories out. (laughing) - Both, right. Certainly stretching new horizons with the bottle and I do think that leaving number five off with the birth of a new Jason as Tommy makes sense. They all are birth and trauma. So what better version of that than just essentially past the torch to the next in line and Tommy seemed like a perfect fit. I don't think the reason that people didn't like that movie was because of Tommy at the end, it's because it wasn't Jason, it was copycat Jason. - And the movie itself is a bit of a mess, it's a bit of a mess. - We had fun with it though. - Absolutely, yeah. - At this point, you know, you gotta wonder your audience that's still seeing five, even maybe four, four, five, six films in. I think they're probably pretty forgiving on the content. So I think the question for the production studios comes to what can we put into this to make enough of a palatable film that our audience will still be satisfied when they come to see it. - There you go. - 'Cause we're not gonna drop $110 million or 40 or we're probably 10, three. Okay, we're three. And I bet two of them were spent on the wrecking of that RV on that little ramp. - He can't really, not that little stuff. - Pretty big expensive stunt for this film. - Yeah. - If you're only gonna put three in and you can deliver with a reasonably solid Jason reincarnation, your audience is gonna be happy. - I wish I could be a fly on the wall of Paramount being like, look, we're gonna make this for three. Our ROI is gonna be a four times multiplier. - Sure. - Yeah, let's just, let's figure this out again. Let's get it back on track. Let's give them some, let's listen to the fans and give them something they want. Man, I would love to have been just alive in this time to just see these trailers coming out and probably see the audience just be like, "Wow, another Friday the 13th." And then just Paramount just cackling all the way to the bank because people are still gonna go see it, right? I guess I did kind of live through that in the ots. A little bit with paranormal activity, but I kind of build out on three, right? I mean, we did, I mean, that legendary just catfish screaming of PA3. But the soft franchise was kind of that for me. I mean, it was like every October, they turned out another one of these movies for like five to 10 million. It would make like 45 million domestically. And then the next October, they would just go right into production on the next one and just keep that story turning along. Like, it's interesting that, you know, that the idea is, you know, simple enough, the formula kind of stays the same. You do different tweaks and additions. But a lot of that started here with these big three franchises, trying to find ways to provide longevity for these series going forward. - I think with that, Michael and Jason have an advantage over Freddy. Because it's the person behind the mask, it can be anyone. So whether we're just gonna go back to original Halloween and call it the shape or we're gonna go into whatever version of casting we used for another Michael or another Jason. Because the mask is the face of the character, you don't have to spend much on who you're gonna get to play that character. - That's usually a stunt man. - You just need someone tall. And so it is built initially in a really cheap manner to reproduce and you don't have to worry about much sag stuff because there's not gonna be any lines. So there's some advantages to Michael and Jason that Freddy can't monetize. 'Cause it's Robert England and it's Robert England with the bullets. - It's the Bob England show. - Right? So all you have to do then is find a different creepier version of the mask or maybe a new iteration of the mask to redesign this version. And you're allowed to keep the budget really, really low. - It could be anybody. It could be me. It could be you. It could be anyone. I just, what's the part gonna require here, sir? Can you walk? Can you swing a machete? Yeah, can you do that? Can you not speak? That's me not speaking. Got the part, right? So there you go. I guess you look at it and say, okay, so $3 million in, we're gonna be able to use an outdoor setting. We're gonna have enough of the normal pieces that people expect to check all those boxes. But this film, and we talked about it, ran into some challenges, didn't it? And that was the MPAA really had a stick up their ass about what we were gonna allow these types of films to get away with. And I have to imagine that some of that is just, we're tired of this crap and they're taking the sacred calivars and slaughtering it over and over. So we're gonna finish these off by giving you PG-13 levels of violence you can show. Or just our rated film. Rampant Christian values at the MPAA are just like, I won't stamper none of this. Exactly. Right. But hey, let's get into it. I know this is gonna be a fun conversation. We got some nice drink to get us through. So let's get to our view breakdown of Jason Lids. I don't know how you talk me into this, Tommy. (laughs) Hell, I must be crazy. (laughs) You know, if the institution ever found out about this, they would haul our butts back and then straighten them. Permanent. You didn't have to come with us. Between me and Jason. I know, I know, I know. I still don't get the therapy here. All you need to know is Jason's dead, right? You've seen his corpse, ain't gonna stop the hallucinations. Seeing it won't, but destroying it will. Jason belongs in hell and I'm gonna see he gets there. (tense music) So we have an opening similar to the last film, which was, you know, the last film started with a dream sequence with a younger Tommy and two grave robbers that just were just screwing around and wanted to kind of see what was in the ground. And it's a nice boom moment to start and it shoots us a flash forward to Tommy much older later. But here we're going back to the grave. We're gonna make sure this guy's dead is dead. And we got Tommy Jarvis. And so this film's gonna wrap up our little Tommy Jarvis arc that we've had going on here since part four. I still think a really interesting character for not just this franchise, but I think any horror franchise. I mean, we had, I think a good chunk of fun talking about Bruce Campbell as Ash Williams a couple of weeks back, but you don't really get a lot of, especially, you know, a male, final guy coming back three times to do battle with this character in various different ways. And one thing that I really like about Tommy is we've had three very different interpretations of him. We've had the young adolescent who's able to kind of relate to Jason at that, you know, that moment when he died in that childlike way. You have the post traumatic stress version that we had in part five and man, that guy, well, he was good at kicking ass. Yeah, knew a thing or two. And now you have this one who's just, I kind of Tom Matthews, a horror fans would remember him from Return of the Living Dead. He had a, he was one of the mortician workers in that film. But this kind of panic nature of him of like wanting to see the deed done and then freaking out for most of the film when he's trying to warn people, no one wants to believe him, the guy that cried wolf, right? And you know, what can I do to fight this thing that I brought back? I mean, we made a joke about like how unlucky for him to be brought back in such a way, but on the unluckiest day of the year, I mean, those, the odds are not in your favor, I would imagine. Right. But what do you think about bringing Tommy Jarvis back again here in the heroic, heroic role? And then just with this opening with Ron Pallillo, horse shack of all people. Yeah. I like the opening. I think it's great. I don't know why we couldn't get the, Tommy Jarvis from five back. I mean, he was too expensive at that point. Yeah, I think they asked him and he was just like, I don't, I'm not, I want to do it again. And then he went down the born again Christian, which I, great. Nothing runs a career faster in Hollywood than born again, born again Christianian fiction. Yeah, any religion, Scientology fiction. Let me emphasize fiction, make believe. Look, Tommy has resurrected himself if we're going to play the grave robber route here into a more sane, driven version to rid the world of this terrible plague that has cost numerous lives. So I think this opening is really good. Takes you back to five. It sort of brings Tommy back into the fold as still maybe unstable, but not wickedly unstable where, where five had left him. And by God, he's going to go to whatever lengths are necessary to make sure that this creature does not return. Now we get that great moment, open up the casket. They got the, so we did the, redig the grave, open up the casket and inside is maggot infused earthworm ridden corpse of Jason. Yeah, he had to jump. He's toast man. Tommy can't but help himself and decides to go to town. Despite Ron Palillos, the warnings is horseshack rendition of being the non horseshack, horseshack in this film. What a strange cast, huh? He's probably happy to take the part. - I used to watch episodes of that show with-- - Hell, yeah, welcome back, Carter? - With my dad, yeah. - Was terrific. - Yeah, Vinnie Barbarino, Travolta, yes. - Washington? - Mm-hmm. - Oh, yeah, that show was awesome. - Welcome back. - Great show. - That's a great song. - Yeah. So, I guess when Tommy sees Jason, he can't control himself and loses it and just goes to task on-- - He's tumbling him with a spire from the cemetery gate. - Yeah, he tends, yeah. He starts hearing his young self, right? - Yeah, flashing back. - Die, die and just like, I killed this thing. I just, I hope it's dead and out of like pure frustration slash anger because one of the things we're supposed to learn about was they're supposed to cremate this body. - Mm-hmm. - And there's just a corpse in here, so he's gonna see, he's gonna cremate it himself, right? - Like the plan? - Burn it. - If there's ashes, I'm not really afraid of ashes resurrecting themselves into a hockey clad killer. - Absolutely. - Good plan. - Yeah, unfortunately they didn't check the weather report. - They didn't check the calendar. - Do this on Friday 12, man. I mean, right into, it's almost like the stroke of midnight on Friday the 13th is lightning bolt. Hits the spire, looks awesome, by the way. And just electrifies Jason that I opens up and they're, they're like, oh boy, like what happened here? And he instantly kind of draw these parallels to Frankenstein, Tom McLachlan, you know, the way he was hired was to kind of come in and do something a little bit different, familiar but different, right? And what's really different about this one compared to any other, the other ones. I mean, I was laughing a lot last year with part five because of how ridiculous all the care, like Ethel and Junior and the orderlies and the '50s greasers, a rat-tat-tat-tat-too, like, but there's some interestingly placed humor throughout this film. And he also drew a lot of inspiration from the Universal Monsters. And you can see that here. I mean, we're essentially doing the Frankenstein story here to bring back our creature. And think about how those latter Frankenstein films, the latter creature from the Black Lagoons, the latter iterations with Dracula. I mean, they did kind of follow a pattern similar to this. They essentially laid the groundwork on how to do these sequels, make it again, make it familiar, but do something a little different. I think I still, at the end of the day, prefer human Jason, something that's a little more tangible, but I kind of like this version of just like, let's reanimate, let's do a zombie undead Jason, let's do, he's essentially a walking Frankenstein. - Right. - And have a little fun with what that could look like. I'm with you, I think this is a terrific opening here. And again, the comedy is throwing gasoline on him. Oh my God, this thing's after me again, I can't believe it. Let me light the match. Oh, it's raining, no matches. Just like God just like spitting in your face literally. So what do you do? And man, poor horse shack. I mean, he tries to help with like a shovel the back of the head. And I love what he was saying earlier in the scene, which was like, my heart, my heart can't take much more of this. And Jason reaches through, grabs his heart on the other side. See ya. (laughing) - You can tell in that first scene too, when Jason destroys horse shack, that the violence is playing in a little tone down and more comedic manner, then we've seen the cameras covered in a raincoat because there's so much blood being spewed on set, right? - Yeah, different than Cevini, yeah. - For sure, different than Cevini. - But regardless, we do realize that Jason is everything that he once was at height of his powers and now. - And more so. - And more so. If you could ever even kill him when he was in his human form, which is debatable, although he is in the grave now, so maybe that's also debatable. How do you kill the undead? - Yeah. - Outrun the undead. - That's one of the advantages that he does sort of give to his prey is he's going to be slower. So, video games, right? - Yeah, it's interesting too, 'cause you can play as this iteration of Jason in that. I'm gonna reference the Friday the 13th game a few times throughout the episode, 'cause they do some cool stuff and they take a lot from this movie specifically, but you can play as part six, Jason, and one of the disadvantages of playing with this version compared to one through four is the one through four, or the two through five, Jason's can run. This one is he can only walk, and like speed walk, but he has other advantages too, like a stronger teleportation time and/or better strength, 'cause he has those uncanny powers, right? Yeah, I think a terrific opening, but then the coup de gras, and it's a moment that you're either on board or you're not, and we cut him close to the iris on Jason's eye, and he walks by, does a little James Bond gun barrel, machete swipe, and you get the title? And I gotta say, you know, you could either say, wow, what a jump the shark moment, and/or you can accept that, embrace that this is a film offering something entirely different tonality-wise, or you can be like, that's stupid, to which I say, hey, man, you're watching Friday six, what do you want? That's where I was gonna go. At this point, the movie is recognizing the lengths we've gone to and what its fans are gonna put up with, and you said take something tonally that's different. Okay, we had some humor in five, but this is a little bit drier humor, and we don't have to take ourselves quite so seriously, six, well, five reincarnations in. Let's be frank about what this is. Let's have fun, let's have some fun with this. Let's have some fun with this. So we get our opening credit scene, and we're just off to the races, go Jason, lumbering through the woods, and then Tommy panically running to the Sheriff's office. - Jason is alive. We dug up his body. I was gonna cremate it. - Whoa, what's your name, son? - Tell me Jarvis, but look, we've gotta do something. - He's even more powerful now. - I'm not sure the kid who's mother and friends were killed by that maniac. - Yeah, yeah, yeah. Jason murdered him. - I've been in some psychiatric clinic ever since, haven't you? - God, what the hell's going on with the weather? - Sorry, I didn't know you had this. - No problem, Rick. I want you to meet a former resident here, Tommy Jarvis. He's got some kind of prank. - Look, there's no time for this bullshit. Jason's gotta be stopped right now. Hey, hey, that's what's going on. The folks are screwing the pooch, iron this punk. - No way, you gotta listen to me. Jason's coming here, he's after me. I'm trying to destroy him, but I fucked up. You got that right, punk. - You listen to me. I'm sorry about what happened to you and your folks years ago, but no one in Forrest Green wants to be reminded of what that maniac did here. That's why we changed the name. People wanna forget this was Crystal Lake. They don't need some kids stirring up Jason shit again. Now you can just lie down and get some rest. In the morning, I'll call that clinic. - Look, if you just go to the cemetery, you'll see, I'm not lying. - You get some sleep. I'm gonna come in there and put you out. - You're gonna be sorry, you didn't listen to me. - You're gonna be sorry if you don't shut up. - Yeah, shut up. The authority figures in these Friday films, I mean, if we did a comparison across the board between the franchises, I mean, at least in Halloween, we're eventually able to get Sheriff Brackett on our side to at least look into, okay, I'll stay with you tonight in the chance that you are right. In Nightmare, you got John Saxon who knows what's going on 'cause he helped kill the guy, right? So, but man, the authority figures in the Friday films are just nose to the ground, do not wanna buy into anything outside the realm of possibility. And it's mainly just trying to keep law and order. They remind me often of the Sheriff's Department in First Blood, right? Just kind of this no nonsense. We don't want your kind in our town. Don't be stern up any Jason nonsense. And let's just get on with it, right? - Yep. - What do you think of that? I think it presents an interesting version of the Sheriff as a foil. I mean, I don't think you can really rely on law enforcement in this particular series. And a lot of that will then come down to your young stalwarts, your Tommy Jarvis's, your camp counselors to really pick up the pieces. - Yeah, I don't know how I feel about that. It's certainly one of the challenges of these films is the involvement of the authorities and what they're going to do. Are they gonna be a roadblock? The answer is usually yes in some way. They're not gonna coalesce to the plans of the protagonists to try to bring down serial killer XY or Z. But in some cases, I feel like they just end up being a speed bump on the road to celebrate what we're really watching, and that is the murders of unwitting foes. Now, the people that get in the way. Now, the thing that they also do present is an ample amount of fodder that we can harpoon or burn or whatever flavor of desired killing that version of the movie is offering. There's an interesting twist to this one though, that I think is unique and made it somewhat compelling, and that's the Sheriff's daughter. - Megan. - Is gonna be one of the new camp counselors to relaunch "Good God, Why." This ill-begotten, we at least renamed it, right? Forest green, not camp blood or not. We've gotten away from that. So, the fact that his daughter takes a shine to Tommy immediately after he's been thrown in the hoo-scow overnight. I think presents an interesting element. Look, I don't want love triangle, and I don't want daddy's little girl. But at least there's a chance for some development of character there. The cop is pretty much, daddy's pretty much gonna be in old iron balls from fate into fate out, and then has turned into a piece of patio furniture later in the film. Looks like to pull that thing right up, huh? - He gets a brutal one in this. For a lot of them are off screen, and we have to imply what happened, which part of me kind of likes some of that here. Man, he gets a bad one. He gets just, I don't wanna get turned into a pretzel. - The trick on this for me is, and I'll be honest, this is the first time I've seen this film, is when Tommy gets incarcerated overnight, I find that to be like, okay, come on, just why are we putting him in jail? We know he's gonna get out because he's got to. So, are we out of story ideas? Does it seem like it's the next logical thing that happened, and I can buy into both of those things, and six films in, it's gonna be difficult to generate a new thread or a new story. I don't know, it's necessary, but in a resurrected zombie, Jason, is necessary, even important. I mean, we're talking about comedy and lightning bolts crafted from the stakes of a fence, and the stupidity of trying to purchase an unfighted 13th, not Saturday the 14th, which is also a really funny movie. - Yeah, yeah, yeah. - Ah, I don't know, Jesse, I get it, it needs to happen, and the cop plays it like I would expect him to play it and presents enough of an obstacle to where we can draw some conflict out of that that isn't man versus monster. I don't know, I don't know, it's okay. - Yeah, no, it's fine, it's just, yeah, I don't think yeah, just the law enforcement aspect in these films is just, it's always presented, interestingly, to me of, they never believe, and I think that's the purpose, is just you don't want them to believe until it's too late where they then become the fodder. But then, yeah, these poor guys, I mean, they go into this camp later in the film and they just all get wiped out, they just have no idea what they're presenting in front of them 'cause they're not listening to the guy who's spouting the legend, he's, Tommy runs in, we're like, he's back, he's alive, he's more powerful than, but I saw him take my friend's heart out of his chest. Like, this is definitely a more formidable Jason than the last one, and then, especially when you add in, can't really shoot this guy. So what are you gonna do? It's your best choice is flight, but no one knows that. No one knows what they're really up against. And so that's at least intriguing to me too. - Sure, every time I watch one of these, I can't but help but think of VHS. We've talked about that a lot, and that is, I think it's the second segment in the first film, maybe it's the third segment in the first three. - Yeah. - Where the survivor, the final girl from a serial killer that got away brings her friends to the kill site to use them as bait to lure the killer out so that she can extract her revenge on this son of a bitch that killed all of her old friends. I always thought that was such an interesting take on this. And I wonder with the necessity of the police and the authorities that have to be involved on some level that are already familiar with the legacy of Camp Crystal Lake or Camp Forest Green or Camp Blood or whatever you wanna call it. Is there a different path forward with the police that plays a little differently? And I think the answer for me is yes. And what if it is the up-and-coming cop knows the history and uses Sergeant Captain, whoever is the ranking officer above him as bait in order to start climbing the ladder to be town whatever marshal from, yeah, forgotten deputy. 'Cause the other one that I think does it really, really well, if we're gonna play the importance of cops and the way they play well, is Dewey in scream. He's terrific. So I don't wanna spend too much time on the police element of any of these films 'cause it is, like you said, fodder, just a side piece of a story that is presenting a challenge to essentially no mass killer at all. Yeah. I think there's some tread there and this movie didn't need to do that and I'm not looking to recreate it. But I just, look man, I'm gonna tell you, it's played out after six films and like 18, this is gonna be, what, 18, 19, and 20 in this round for us, 15, 16, 17, 18, five times three is 15, so yeah, this is 16, 17, and 18. Yeah. In this space, there's not a lot of new that we're looking for and that's not what we're going to the films for as a new take on the police. But I do think that there is some traction and some tread on those tires that could be used. Absolutely, yeah. Yeah, and it's all about, you know, let's see if we can expand the mythos a little bit, let's see what we can do with tone and introduce some new elements. And, well, let's talk about some more of the foddering. I think an interesting kind of meta-element too here. Will you take it easy? It's hard enough to read this thing. Well, who told me to take this cow path? Wait a minute. You admit the sign did say camp forest green with an arrow pointing this way. I admit nothing without talking to my lawyer. Told you we should have left a trail of breadcrumbs. Don't start. Ah, so much for the head counselors ever getting back to the camp on their own. I'd say we'd stop the car, get out and start screaming for help. I was just kidding. Darren, we'd better turn around. Why? Because I've seen enough horror movies to know anywhere to wearing a mask is never friendly. And again, there's your-- OK, so you had? You had? Jason comes back via lightning bolt. You had the James Bond gun barrel in the opening credits. Now you have a character out-outingly talking about the meta aspects of horror films. 60 years into making horror films since the silence, right? I like this. I mean, this is proto Kevin Williamson's scream, where we're really going to draw attention to the nature of horror films on society. But here you have to carry us with the director's wife playing this character. I've seen enough creepy things to know. That's not good, right? And so we have some self-referential characters that I think is kind of interesting. And I think maybe a first for this genre to really call attention to the ghoul and the hockey mask or the boogie man mask is not to be trifled with, right? Sure. And Tony Goldwyn, little Tony Goldwyn, who we last talked about in Oppenheimer, right? One of the boardroom guys, early film for him. Probably pretty close to his first. We're still finding some diamonds in the rough, right? I mean, they show up in these movies still. Yeah. I like that he says... I'm going to show this weirdo in this mask who the boss is as he's in the passenger seat of a bug that his girlfriend is driving. He's not driving. She's driving. He's in no position to make this. Yeah. So this guy who hasn't even managed to get behind the wheel of a bug, because girlfriend is driving, is going to show the weirdo and the hockey mask in front of him who the boss is. But there's a little peashooter. It might as well be a BB gun. A cap gun. Golly. So he gets out and just gets wiped out. Tony Goldwyn, welcome to it. We barely knew you. But it's going to be the start of something great, I guess. Kind of great from time to time. He's got some moments. What's his big... Ghost, right? Ghost, yeah. The ghost... I remember he played the dad in the last house on the left remake. But yeah, you'll recognize that face. It's very recognizable. I love that Jason's weapon of choice here early on is the spike that brought him back to life. Yeah, it's great. Let me use that. And the look of what he's got like these like... I just picked this up for the first time though. Yellow gloves he's wearing or the gloves Tommy was wearing in the cemetery. So let me put these on my dark man hands. And he's got almost like this like kind of like this bandolier, like this belt. He looks very military-like. And the boots and the thing. But this is the look of Jason that I really like. It's just like imposing, monster-y. And probably the version most people, when we think of the character, I doubt we think of bag head Jason or green shirt Jason. I think of some sort of version of decomposing red hockey mask Jason. This is a great look. And they put it, and I'll talk a little bit about CJ Graham, the stuntman that played him, six foot three, two fifty. I mean, this is what you want, right? Yeah. Imposing. The spear through the window of the bug and then this poor... She doesn't have a prayer's chance to escape from this mud trap. Gets killed and then the little gag of the American Express car. Don't leave home without it. You're almost begging for someone in the audience to say don't leave home without it. Man, 1986. What a time to be a lie. Yeah, to that. And again, let's have some fun with it. And all of this initial kill at the bug, there is a dark seed of humor running through it. The fact that they back up and they know we should stop because we're going to get stuck in the mud like all of these cars and these movies get stuck in the mud. So, there's only one way forward and we better scare them and I love the line when they pull right up to Jason and the bug stops about six inches before they crash into his knees and Jason's just staring at it and she goes, well that worked. Well that happened. He seemed scared shitless. Yeah. And now we're in it. And that's what we're here for. So Tony gets it pretty good, the missus gets it pretty good. And these people are just in the path, right? Wrong place, wrong time. The Jason's on this forward path back to Camp Crystal Lake to mess around with anything what's being set up over there. And let's talk about it for another first for the franchise. I mean, I think when you think of Friday 13, you're like, oh, it's a summer camp movie. I mean, it's a camp with kids and this is the first film where we actually had kids. The first film, they're just setting it up. They're just trying to knock over some stumps, paint it, get stuff ready. And get down a little bit before the kids get there. Yeah, Kevin Bacon. Yeah, I can do a little swimming. They don't even get to the kids. In part two, we're at least we're training the counselors and they're the kids coming next week. And we don't even get that far because we kill off about nearly all of them. And the third one worked nearly all in the third one we're off at Higgins Haven. We're at someone's cabin, family cabin. And the fourth one, we're at the Jarvis Hall, we're not even at a camp. The fifth one, we're at a halfway house, it kind of counts, but not really, right? We actually have kids coming to the camp this time. How does that extra element kind of play into this? Because now there's, and I don't know if they're going to go there, it's 1986. I mean, if the Christians have a hard time with the gore of the film, they're not going to let you kill off these little kitties. But I think it presents another interesting element of dread of putting these kids in a very precarious situation. Especially when no one's really watching them once the counselors are all off, right? Right. So environment's important. And if you do suburbia, the way Halloween does, then it's just whoever is around the corner in the backyard, jump off the trampoline and look who's in the swimming pool. Michael. Michael. Yeah. Then you get the vast dreamscape of the nightmare series so we can play fast and loose with any kind of physics. And so whatever happens happens because you know what, it was all a dream. Let's make a movie out of that. And then you get this, which is mostly with the exception of the Jarvis household, what the woods offers, trees, foliage you can trip over, water, mud, natural challenges that make it difficult to run away. But also present somewhat of a wolf man-like feel and that you can hide in the trees a little bit. You always talk about outs in horror films of like when you back yourself into a corner, like you want to give yourself a position to be able to escape and the woods are an out. Sure. But it's not a good out because you don't know what direction you're going. Right. You don't know how far it is to the next town. So it's almost like a facade. It's like a fake escape, a fake haven. But you know, and if I had my choice, I'm not going to hide under the bed of a cabin. I'm just going to high-tell it in the woods and hope for the best. Yeah. And that's one of the great things about the woods is the more sanctuary you seek deeper into the environment, the more challenges you're going to run into into the environment because you're going from the civilized cabin, what civilized that is, to the savage. And you know, one of the things we don't run into much in these, but you have to at least consider is, am I going to run into a bear? No. Do Jason be bear? Let's do. I probably put my money on Jason, frankly, or am I going to run into a stream or a cliff or you don't want to do quicksand because now we're getting to be a little bit ridiculous. But there are things that as you travel into an unfamiliar, what that's out of the realm of possibility in front of 13th, yeah, we're not doing quicksand, damn it. That's too far. Absolutely not. But fighting the bear reminded you, do you remember when Lou Ferrigno's Hulk fought best? Yes. Yes. That's almost a jump of the shark for that show. But anyway, but there's something I like about this setting. I mean, I asked you just off when we were watching. I was like, did you ever get to go to camp as a kid? And I don't even know if I would like that particularly. I never did. I mean, that always seemed kind of like a very upper class thing if you were going to camp, right? Yeah. And that wasn't us. But I never even like camping with my family. Really? No, I don't like that. Yeah, it's like a day or two. It can be fun, but like, I don't know if I want to go to a sleep away camp and I just got a shower and I'm probably just stinking the whole time. I'm probably not sleeping very good. So I don't know, but in film, whether it's meatballs or sleep away camp or the burning, the camp setting is just awesome. It's just, it looks so good in movies that I would never really want to live it in real life. So I'm glad that film presents me that opportunity to like have this fantasy of like, what would it be like to go to a camp and get into hijinks? Maybe there's a slasher running around. Sure. You're eating shitty food that's made for the masses. But we have our interesting little group of camp counts that we already mentioned, Megan, the sheriff's daughter. And we have Sissy, Lark Voorhees, 2.0, right? I was shocked it wasn't her, but I mean, this is years before I say by the bell, it can't be. It's like her twin, sure. You have Paula, who seems to be the most proper of the counselors, the one that's going to be left last that's helping this little girl a little bit later. And then you have court, who's, I don't know what movie he wrote in on, but he's kind of hilarious. And man, his clothes are torn to shreds. He's just like, like the stereotypical, just like doofus of 1986. And you know, they set this up and he's going off with the boys, teaching them about, you know, Indian trails and mark, India markers. That bit's pretty funny, and a lot of it feels improvised, right? It does. He's going to leave the squab behind and go get a new one, but if the kid wants to come catch up with that, he'll know where to find me. And they kick over the rock, so mom doesn't come nagging after him. Yeah. He's funny in that bit. And I like this little kid that they really focus in on a couple of times, it's like black hair to like bulk a kid. And he's like, man, if this is what we're in for, man, we're in deep trouble. Oh boy. And then later, man, this is Mr. dead meat kid, which I have the audio for that. But courts got, so we get tonight, you know, Tommy's trying to lead the authorities to the cemetery, the drunkard, grave digger, redug the hole, so we can't even prove that. And I love when he's digging the hole, he's like, I'm not going to get blamed for this. I'm a high school graduate. I earned this job. Boy. Yeah. And he sees the foot sticking out, which is horseshack and it's just like they couldn't even put the body back in the thing. Ah, not my problem. Digs it back up has a great fourth wall break with the camera who looks into this kind of inattainment. Am I a fat head or what? And then the cup smash cut to the kids going, yeah. Really, really interesting editing throughout the movie where there's a scene later where Jason throws this dart at one of the cops and he lands in a boat. And then the very next shot is the back of a dartboard in the boys cabin, like just really smashing up the images, darting head to dartboard, right? Yeah. So again, having some fun there, so Tommy's back in jail. We just can't trust this guy. Let's get him out of town. So they drive him to the outskirts like John Rambo. Get out of here. We don't want your kind. But Tommy's like, I got to, I got to, I got to do something about this. And then we cut to one of my favorite scenes of the movie, which is court has left the cabin to go rendezvous with the townie and a stolen RV and a stolen RV and what could be better? And these two are just going to town here listening to some generic, you know, you know, firehouse or D or whatever. Yeah. And, and she's playing with his shirt and she's, and she's going, she's like, Oh man, this is great. And this port and port court and she's, and she's like, you got to last this long in the song. It's like, how much song is left in the song? Another 10 minutes. And he, and the look on his face is like, I got like 10 seconds. She's like, you know, when you listen to Inga to David, I mean, you're like, what are we doing here? Yeah. Good. I need, I need a credence. Two minutes. I got CCR versus iron butterfly. Exactly. Yeah. But Jason is here and he shows up and he's like, Oh, what's going on there? The van's a rock and don't come a knock and kills the look at you, Mr. music. You are what a tapestry. You just wove here of the musical segues. Good job. Wow. Kills the power. And then they're like, well, let's, and he's like, Oh, did you finish? He's like, yeah, that's the end of the song. Isn't it? Um, it makes me crack up. It's pretty funny. Goes outside the chords and shambles. And again, another drop line of like, yeah, there's something in the way out and let's, unless you want to be like the end of that chord, let's get out of here. And then we get a little of this. What? Yeah. Whoo. Well, this bit of jam type of big truck is not bad luck. That's it. Pull over. I'm driving. No, wait. I want a rock. Yeah. Whoo. I'm never shipping a house if I like this. This is great. I'm never shipping a house if I like this. This is great. Got a synthetic face. This is great. I'm never shipping a house. I'm not shipping a house if I like to send a piece of a fashion. Hang on a second. Yeah. Nicki, you're taking a dump back there. A, can I sneak a peak? Gross. Yeah. B, do you want some company or vice versa? What? Yeah. What? What's the matter with court? I want to see anyone take a shit. Exactly. You're going to play this club because of that funny exchange because who says that? When she's flying around back there like Sullivan travels just all over this cab or this RV, Jason takes her and toss her all about this thing. It's a pretty brutal death too. It's just, I want to call it like mirror face. Just crushed into the side paneling of this bathroom. Pretty cool though. Makes like the imprint of her face and then the Alice Cooper of it all. I'm a teenage Frankenstein. Kind of a cool song, right? Yeah. Where are you? Music talk. Where are you on the Alice Cooper front? I wouldn't say he's one of my favorites, but when some of his music shows up in movies, I think it's used pretty well and he's got some bangers. Sure. No, that's probably nothing I'm going to on iTunes and I can't say that I own an album, but there's enough of a familiarity with the stuff that's popular and this is the revival tour that's going to lead us into poison in about two years in that awesome video. Yeah. Sure. Yeah. Alice Cooper, why not? I mean, I guess if he passed there's Edgar Winter we could go with that too, get the real Frankenstein. Yeah, exactly. But no, Alice Cooper, I think in this space fits, I forgot he has that song too because I did do a little Spotify dive on Cooper this week because I was like, I was like teenage Frankenstein. Who is that? Oh, Alice Cooper, because he's going to do the song at the end of the movie too, written specifically for the movie. I forgot he had that song and they're the Ballad of Dwight Fry. Yep. So Mr. Dwight Fry from two weeks ago too. So I think Mr. Cooper likes himself some horror films and in particular Frankenstein, right? There's a lot of ties there. It's not golfing or spending time in a non-secular space, he's composing horror songs and you know what? Good for Alice Cooper. I think the non-descriptness of just hair metal as court is just banging away to whatever warrant or firehouse or bullshit and I've got to be honest with you, that is a version of 80s music that leaves me cold. Like I think it's awful. Was there any of it that you liked? Was there like a particular band that you were like you could stomach? I mean, look, I owned Slipperoo and Wet and played it to death and then Bad Medicine came out and I'm like, yeah, maybe this Bon Jovi thing isn't everything that's cracked up to be. Yeah. But, and look, there's two amazing, amazing tracks on Slipperoo and Wet. But honestly-- Poison? Poison? No. Poison, warrant. Rat? No. Oh, I'll do Cinderella. Okay. Tom Keefer was a badass. That's fair. I'll do Cinderella. Docking? No. Oh my God, the fucking worst. They're so cheesy. That's horrible. Okay. That band blows. That might be the worst. We had some fun years ago. The first screenplay we ever wrote, we had this character who was like this rent a cop security guard who was like, loved this music. Yeah. So any, he was always trying to like, you know, get this girl that worked at the store with him and the lines we wrote were like, I got some tickets to the fire, it was the war and chill. Yeah. And we had some fun really trash in that era's music. I don't know. Are you a fan of that? You can't be. What I like. I like how big it sounds. Right. I mean, like that stadium like rock. And so, I mean, at least we're still playing instruments together. Yeah. I don't think I dig like the fashion associated with it. And I'm not. It's hard to throw a GNR in that, but they're a little a part of that into the grunge era, right? All right. Yes. Yeah. In particular. Yeah, I'm not a big Bon Jovi guy. There's some poison stuff I like. But yeah, this era is a little rougher for rock, right? I'm still I'm hanging onto my prog rock, like, give me my rush with synths or like whatever. You know, those bands are, you know, that early 80s when like, you know, the police kind of disbanded because it's either hair metal or, you know, some Phil Collins stuff. I wrote the whole decade that wasn't hair metal. I got queen over there. Oh, instead of really hip hop and rap to you. And that's probably yeah, Aerosmith is, Aerosmith is probably a bright shining light around this time. I'll give you that. Ah, but no, I just, I love getting your music, especially in the time to 86. I mean, we're in the MTV era. Okay. To that. So yeah, you know, a staple of every day when I got home from middle school was to turn on MTV and watch the big VJ top 10 countdown. And it was the VJ? Adam Curry. Most of it. God bless Adam Curry. No agenda. And he's a guy that we should really look up to. And I remember grinding through most of that, my buddy at that time, Andrew, he's come up on the show plenty. Yeah, he loved that shit. And it was like, fucking doc and Jesse, I remember. Dachin was the anthem of everything that that and that doc and is here. Don Dachin. All respect dude. You're a musician. Music is, they are horrible. And I remember sitting there just praying to God, like, Oh, right. This is Ben Orr's drive. Like, that's a guy from the, from the car is sweet. So this isn't, you know, another hair metal song. GNR came along with, welcome to the jungle. And that actually had some not produced musical chops to it of originality. And I think that took us down the path that we can get into GNR discussion. But to the question, the larger piece of what you're asking, that was a huge anthem of all my middle school years. Yeah. And most of it, I have not listened to, I love Uncle Tom's cabin, but I won't, like, I still love that song. That's a really different hair metal song. But when you get into like the poison and the knockoff and the knockoff and the knockoff, even ready, I know people are going to turn this off. I fucking hate motley career too. I think they're terrible. Oh, man. They suck. I think that, that, that band sucks. For me. Um, so yeah, I don't know if that answered your question, but most of that leaves me pretty cold. Um, no, I think that's great. Uh, boys and running through my veins. I like that song. I'd like that song too. That's an exception. Well, real, real quick. I mean, cause I'm not no, no Van Halen for me, we both agree on that. Oh, now Van Halen or Van Hager. What about, I mean, are you going this hard or you getting into Iron Maiden, Judas Priest, any of that kind of stuff? Cause they're at least still got a little bit of an edge and we're getting a little, maybe Metallica's on the horizon here. I liked Iron Maiden and so far as what Eddie represented. Okay. I thought that part of it was cool. Yeah. But, and Bruce Dickinson's got a set of pipes that is unforgettable and wasted in the genre that I think could have been far better spent in their ways. Sure. No. Um, Rob Hallford and Judas Priest. Okay. Some. Yeah, so like, you know, the other was Ricky Rockets and headbangers ball and some of that got on there and I felt like I was just watching the Big Ten Countdown again. That just, we've talked about this a lot that decade for this, the latter half like 85 to the onset of Grunge is not a great five to seven year period for me. The Grunge really saves it for you, right? I mean, yeah. And then people would say, well, that's absolute garbage now and that's fine if they think that obviously it's their, that's their choice, but that's one I started caring about music again. And I've, I've still listened into 70s rock and I'm not, you know, I've still listened to Pat Benatar and Fleetwood Mac and all the stuff that I like from the 70s back then. Just hanging on to it. Yeah. And it's funny because I look back in my, my, Andrew used to give me so much shit about my choice in music and I look back and I'm like, I'm a fucking listen to Fleetwood Mac and you got docking on. Hey, dude. Fuck you. Literally. Fuck you. Yeah. Yeah. Do you hear me? Yeah. Absolutely. Mac all the way. Oh, and it's not even close. Yeah. It's just, yeah. Don't dock in. Yeah. It's, yeah. You're right. That period. I mean, you, you have Prince is still doing some good stuff. Michael Jackson's doing good stuff, but yeah, outside of like pop or your Prince guy. Oh, yeah. Okay. Yeah. Like Prince. I mean, you go listen to our Batman episode. I was all about the songs in that movie, but outside of like pop in like, well, again, the rock scene's a bit, a bit rough in the, the latter 80s. I'm, I'm with you there. But yeah. I really like living color though. Yeah. Cold personality. Yeah. Interesting band too. I just love getting your music day, especially around this time, right? I mean, MTV, the music, because it's the video's part of selling the song, right? I mean, if you, you're great to have a song, but if you can't have a video to go along with it, you know, the only live performance I've ever seen from any member of the cult of personality is glory, as is Corey Glover as Judas in Jesus Christ Superstar. What? That's right. Awesome. Really? Here locally. Actually, here locally. Excellent. It was terrific. That's awesome. That's awesome. Yeah. Well, thank you for going down that rabbit hole with me here on the, on the Alice Cooper and music in a long time. Yeah. No, yeah. It's, it's, it's always fun, right? Yeah. But man, teenage Frankenstein takes us right into a knife to the temple. And man, this RV goes flying down the highway. You're right, two million on this stunt alone and taking a little bit at, into the action space, right? This is something I would see in Lethal Weapon. Right. Yeah. Exactly. And Jason getting at the top of this thing and standing over this flame in RV and it's like, yeah, this is, this is a different, this is a different, a different beast here. He's, he can survive that because he's the undead, but we're willing to blow, blow stuff up a little bit. I really like that. That whole scene. There's a nice enough, enough comedy there. The deaths are pretty interesting, the songs rocking. It's kind of a fun sequence. So let's catch back up here. We go back to the camp. So in between this, you know, we got Tommy trying to convince, you know, Megan that crazy things are happening. We get into another action bit with like a car chase with him in her crotch, trying to get away and just these closeups of just her gene, or gene crotch and let me get there for my dad and he gets, you know, caught again, so we got, we got to get him out one more time. Meanwhile at the camp, everything's just going tits up. The counselors are getting restless. They think jokes are being played on them, but it's Jason. So Lark for he's 2.0 goes and gets her head turned all the way around and pulled off. And then this little girl here that they, they, they keep cutting back to who keeps seeing the boogie man and no one's believe in her. So they're trying best is where I really like the Paula character because she's really trying to, you know, relate to her at that level, be, you know, a respectable adult when no one else is teacher about, you know, if you, you know, you pray, you know, I always pray when I was scared, give her something to hang on to, but man poor Paula doesn't got long either too. And I think she has a particularly brutal death, which is mostly seen off screen, which is, you know, it's a bit of cat and mouse in this cabin. Jason comes in, throws her through the window or blood splatter on the window. She flies through it and then yanks her back into the room, ragdolls her. Yeah. And then you just kind of see like a miasma of lights and flurry and whatnot. And then when we go back when the sheriff enters the room, oh my God, it's, she went through the Johnny Depp bed in nightmare. This just, there's blood everywhere. Yeah. Well said. What happened? The room is painted red with her blood covered, covered. Yeah. It's, it's, yeah, pretty, pretty wild here, but let's get, let's get Tommy out of here. And let's talk a little bit about his plan and also that universal monster influence. All right. Let me know more about to blast into hyperspace, I'll fasten my seatbelt. Got a bath and I'm already too late. Are you sure this is going to work? Why don't we just bring the gun and blow him away? The only way now to stop Jason is to return to his original resting place, redrown in 1957. Like forest green and Crystal Lake this nightmare began. So McLaughlin taking a lot of roots from those universal monsters. We hold so dearly to our heart, bringing Frankenstein back through electricity, kind of making this undead walking monster, now let's toss in a little bit of Dracula in there. And you know, kind of the Dracula misnomer is, you know, the, the coffins of home dirt that he needs to live in and or particularly in the, in the Coppola version, the race back to Castle Dracul to it's his sanctuary, but also the only place where he can truly die, right? Yeah. His home soil as, you know, a bit of a thing. So Tommy, I mean, there's a scene later where he's reading some of Cole books and maybe this is where he figured it out. But I know where this is coming from, from the universal monsters. What do you think of that of like, is this how we're going to defeat him, he needs to be buried in the ground or in the water, his weakness, right? Drowned in water on home soil as far fetched as slasher horror can be. I love the fact that the reach of classic literature has an impact on these as well. Sure. So if we take Bram Stoker or Mary Shelley or HG Wells or wherever we want to go with any of those adapted novels, classic literature, I love that there influence on those, whether it's done on purpose. And in this particular case, it is done on purpose or done because it just makes so much sense and it creates something we've talked about a lot, which is some nomenclature or some rules by which we have to play by. Give you a fighting chance and something to do through the latter part of the second act. We've got to find a way to trick this monster back to X because that's the only way we can get him in his rested state is to bury him where he initially died or however you want to explain that. I love it. Of course, but we're shameless universal monster fans, so it's a bit of a particularly slanted argument. Nonetheless, it's slanted in a way that I think you can defend is important. If we look at franchisability, again, here's nothing new if you ever listen to the podcast. If we look at franchisability, universal set of standard that has been followed over and over and over and over again. If you have a character that people love. They set a standard and I don't think they knew they were setting a standard. Just like these are the benchmarks of how to kind of do these stories, right? Sometimes people love a great villain. Wait, maybe it's more than sometimes. Sometimes people like the villain more than they like the hero. Now we got to be careful because we can't let the villain win because then the movie gets too dark in 1931, but we can't have the protagonist beat the antagonist so badly that the hero does away with the monster and he never comes back because people like seeing that. So, let's create the first anti-heroes and give a good reason why the villain does what they does. He's heartbroken. Frecket sends monster. He's also heartbroken. He wants to die. Creature from the black lagoon. Heartbroken. Since the theme here. Yeah. H.G. Wells. Kind of heartbroken. We sort of play in the same space with the invisible man across the board. I love that. The bastardization of what we all go through and this is doing the same thing too and that's burial started off that way. Why not finish it off that way? It's sacred because that's where the bones of everything that once was have been laid and are at rest and should be given peace out of respect. That's where this crap all started, right? The counselors in '57 not paying attention, letting that little boy drown and it set off a domino effect of carnage from mob war he's to Jason to it's still continuing. So yeah, it needs, I love it, it ends where it began, right? Yes. Yeah. At the genesis of that. Circle of death? Yeah. Circle of death. Yeah, exactly. What do you think of because we've had three different Corey Fell or Corey Feldman, three different Tommy Jarvis's. There's been at least three different versions of Corey Feldman. Dude, current Corey Feldman, dude is like a pseudo Michael Jackson now. Boss boys dream a little dream and the one we have now. He's like doing live performances. I almost want to see one to believe it, what a mess. What a crazy just thing that is about three Tommy Jarvis's, three different ways to play the character. Silent solemn, active little boy, ingenuity, creative, and then kind of active protagonist here. What do you think of Tom Matthews version of Jason and what do you think of as a demon wool jacket? Yeah, I think it's really good. He looks like an imposing screen on presence or seems like an imposing presence on screen. That's what I meant to say. And I think as crazy as the sounds, there's an art to the stocking that Jason offers in pursuit of the prey and part of it's the way that it's shot because you have to show these heavy, almost rhythmic footsteps. One after another that are just devouring the earth as we see the turning of feet over and over on the earth as we're trying to get away that usually ends up in like a trip somewhere. Yeah. Slow and steady wins the pace or wins the race, wins the prey, slays the prey, slow and steady slays the prey. How about that? I think he's fantastic. Yeah. Seven feet tall is probably too much. 5'10" is probably too little, 6'3", medium-sized off-guard. It's pretty good. Pretty damn good. Yeah. I mean, think of Bob England. I mean, 5'7". I mean... Is that what he is? Wow. Let me not tell... Wow, really? He's that little? Let me not tell Tails out of school. I'll get you some hype on Mr. England here. But I mean, Freddy's a tiny guy. I mean, we're both taller than him. I'm imagining... Hang on. This is going to be riveting podcasting here as I tell you, Robert England's height. If you go to the IMDB, you can learn when the person was born and/or how tall he is. Oh, 5'10". Oh, I'm sorry. I'm sorry, Robert, but still not a Titan by any means. He just met the bottom threshold of that. So I mean, 5'10", Freddy versus 6'3", 250", Jason, dude, Jason's a linebacker, right? He'll wreck you. But that's why I like C.J. Graham's portrayal. I mean, it has presence in the next films. We're going to get to the fan favorite, Kane Hodder. You've heard that name before, haven't you? He's going to get to play Jason four times. He's going to develop a bit of a cult following with his portrayal. Mr. Kane Hodder, I think, is about 5'10". I mean, he's a shorter Jason, a little stockier. Great body language. But I kind of want my Jason a little bigger, right? Like, imposing. And this look that they got really works for me in this film. And it's still, it's monstrous, but it's not like too deteriorated yet, right? It's still a little human, a little bit of a human side to this Jason. It's got to keep some flesh on it, keep some structure of an anthropomorphic look, otherwise it just doesn't play at all. Skeletons in a hockey mask? Yeah. Yeah. Not good. Yeah, that doesn't work. Not good. I mentioned I was going to bring up the game a couple of times here. So, yeah, the game I'm referencing, it's Friday the 13th of the game. It was a great, you know, online multiplayer where you either got selected to be a counselor or end or Jason stocking the prey. And it was fun doing both. I mean, it was two different ways to play the game, like find, seek out and destroy or hide, find resources, escape and survive. And if you were an unfortunate camp counselor that died instantly, there was one CB radio on each map and it was random where it would be every time you played. So, it would never be in the same spot twice, on the same map twice. So, if you found it though and talked on it, your person would go, "Help, help. Jason's after me. He's coming since somebody helped, since somebody helped now, now, now." That radio was a direct line to Tommy Jarvis. And if you died first, if you stayed in the lobby, you would come, you could come back as Tommy Jarvis and it's this version from this movie voiced by Tom Matthews. He comes in wearing the denim with a shotgun. And so, you get a second chance to go to get in the game as his character, who's a little quicker, really good with weapons and blunt objects, and he was the only one in the game that could kill Jason. Now, to kill Jason in the game was a lot of collaboration with your fellow multi-players across the globe. It usually involved only a female character could do this. They would have to sneak into the Jason check, take the mama voor he sweater from his Jason trine, put it on, get up in front of him. They would have to knock the mask off, which is inflicting enough damage on the Jason where his mask pops off. Then the girl hypnotizes him, like Ginny in part two, and says, "Jason, it's mother," and he kind of stops, and then Tommy Jarvis would have to deliver the killing blow. You needed like three to four things to go right, and you could be killed as Jason, and it happened to me one time, and it was really embarrassing, because I think it's really hard to do. Wow. That was like, "How did they kill me, man?" But a lot of influence from this particular film, I think, using Tom Matthews, I think, has a bit of a cult, I think people really like Feldman's portrayal, but people really like this version of Tommy Jarvis as well, this guy with the plan, even though the plan is, I don't want to say half-baked because it's the best he's got, but there's a certain amount of risk involved with this plan. We'll get to it here in a second. Sure. It's interesting to me, and I got to get this thing over his neck, but the sheriff's show up at Camp Forest Green, Crystal Lake, and it's just a shit show. The kids are running around scared, the rooms painted blood, and then Jason shows up, and I think this cop, I mean, I think there's a good deal of empathy here with him, realizing, "Oh, man, that Jarvis kid was telling the truth, and I can't kill him," and then has the good sense to just high-tell it into the woods, so we really can't rely on him to really protect us, but then he really comes to, to save the day when his daughter's in the path, and he's like, "You will not take her," and he jumps on her, and this is where he gets pretzeled, right, right, but pretty brutal death mixed in with this little element here. I'm going to know, find my daddy, the sheriff, and then we can all go home, okay? Now go back and lie down where you were before and stay there. Go ahead. And we'll come back and get you. I promise. Go lie down. Stay there. What do you think? I think we're dead meat. You just, yeah, you're ten, nine, just realizing your fate is happening. This is happening. I think we're dead meat, man. I love that. I just love that self-referential, I mean, you're not getting this in parts one or two, you're really not getting this in Halloween either. Just really just calling attention to the situation, which is a danger, right? I mean, I think you run the risk sometimes when you're a fourth wall-breaking entity and/or a meta entity that you run the risk of going a little too far, and I think screams toyed around with that and walks the line pretty well for the most part, but in films where you're blurring reality and I'm just a patron watching a movie and a movie theater, you got to be real careful, but this is, I mean, relatable, right? Sure. Yeah. What would a character say and think like these idiots are the ones that are going to protect us? I think we're dead. Where's Paul Bart when we need him? Yeah, exactly. So, and then they come back to the skin and, you know, Megan scream around, "Daddy, Daddy, where are you?" They come back to a real dead meat and the kid next to him's like, "What did you want to be when you grew up?" It's such an adult conversation. It's a great line. A adult conversation that these two nine-year-olds are having. Yeah. Again, just what draws some difference to this particular entry than literally any of the other ones. You know, it took me to his humecronin on strangers on a train. Oh. Those little kind side conversations. That's going to murder somebody. Here's how we do it. That humecronin conversation that he has with his buddy over and over and over about the best way. No, no, no. Shadow of death. Shadow of death. That's what I meant. But from time to time, these interesting little developments between characters that happen by hook or crook that really create some levity in your screenplay. That's such a good one that you mentioned too. Is it so the best, right? Yeah. It's the best. It's a film stuck within the Haze code of 42 and you got these two guys that they just hang out and drink and talk about gruesome words. So good. So good. And we've seen it like, yeah, you know, it happens at the beginning of Reservoir Dogs. That conversation. The Madonna conversation. So you'll get it from time to time and I don't really know if it serves a purpose larger than creating some meat on the bones of the side characters. But if done well, it can be some shining moments and like it's very brief, but these little conversations that have been set up and actually paid off quite well because this is the third time they do it. Yeah. What were you going to be with? It's so great. Yeah. Great and funny. And just, yeah, excepting here faded way too young of an age here. But yeah, all these, all these cops have been in the bull. We've had a cop, a cop crushed his head, skulls crushed and other ones as this dart thrown through his head and Tommy and Megan show up here. And so Tommy's going to get on a boat. His plan is, I mean, it's the best he's got. I mean, I don't got better. I mean, I probably don't have a plan, but he's going to get onto the open water here at the lake with the big boulder, the chain tied around it and with the big long chain with kind of like a noose and he's Jason get close enough where he's going to get this round his neck, dump the boulder into the water, have him sink right to the floor. And you know, if his water is his weakness, I mean, he'll just drown out again, right? In theory, good plan, but execution meant I'm not signing up to do this one. I mean, but I think it's Tommy realizing his responsibility, which we haven't talked about a lot is this whole thing's kind of his fault again. I mean, if he left well enough alone, I mean, there's no Friday the 13th, Jason lives, but because of his own curiosity and his own PTSD, I need to see this thing burnt to a crisp. Brings it back to life, right? So there is a bit of Colin Clive guilt with, I got to see this through the end. I mean, we, I think we had a very hearty conversation two weeks ago about Colin Clive manning up and, you know, after Elizabeth's assault, I'm going with the surge party, I'll lead the mountain pass and we're going to kill this thing. There's no kind of if ends or buts of like, I'm not going to try and reason with it. Like we got this needs to be done. We got to take this thing down. Yeah. And there's a little bit of that in Tommy too, right? I mean, like, look, I fucked up, like I brought it back. We got to kill it. We got to do something and just I need some help and at least he has Megan and his corner because no one else is believing him. But I also kind of think there's a part of him that like he's willing to go down with the ship. If need be to see this through and I don't know if that's how I want to see Tommy go out. But I think it's a definite possibility here. Sure. But we got to get him into the water first. No. Megan. Megan. Megan. No. Jason. Jason, Jason come on, come and get me, it's me you won't remember. That's it, come on, Megan head, come on, come on, come on, come on, come on, come on. I really like this shot to have Jason kind of just going into the water and he just kind of just becomes a head floating at the top until like the head just disappears into the water. So, how are you going to find this thing now? What do you think of the finale? What do you think of how we're dispatching the monster out at sea and how this plant takes place? I mean, I like what Tommy does here is, okay, so Jason's under there, I don't know where he's at. I'm going to light this thing on fire and bring him to the surface. Give me your thoughts on the finale of the film here. Finally, that gas can comes to something that matters, right? There's no rain to stop it, but it's funny that it's sort of done away with water to begin and then resurrected with fire in the water later. You know, I thought about the pouring of the gas into the water as he creates that ring of flames around his boat. I think it serves two purposes and it could have backfired equally well is if Jason isn't inside the ring, then what Tommy's just done is walled himself off in a prison that leaves Jason to go chase down Megan. Yeah. I found myself thinking, well, I hope that your radius was the right length, otherwise you just shot Jason out of your ring of fire and into Megan's arms. It does work out though and it does bring him to the surface and we finally get to what's kind of an ill conceived plan because if you think about the way the stone is going to go in the water, the noose is just going to be looped over Jason's head. Well, the rock is going to float to the bottom of the ocean, which is going to leave Jason above the rock and the physics of that don't work because he just has to swim out from underneath the noose. It's not the best plan ever, but I guess it's something and we get the showdown of man and monster that we've been waiting for the whole movie. We really haven't seen this version of Tommy take on Jason. This is the resurrected version of Tommy that's come into the dark side and come back with some therapy in the middle and well said the asylum therapy in the middle. I guess we can call par five. Yeah, it's gone through some some searching, if you will, and we get a nice little battle in the boat and a plan that mostly works. Yeah, it looks like it's going to get choked out in the water here. And as effective as this is, the other part that's really effective is what are we going to do with our final girl, which now becomes the final couple. And I thought this was a pretty interesting way to attack Jason too, and don't just let him sit there while he's trapped and stuck. Give him the rotor on the outboard motor for your little robot for your motorboat, and Megan boy turns that thing on and lets him have it. And if I'm not mistaken, when she cuts his neck, it does look like vertebrae. Yeah, it's pretty gross. She chops him pretty good. And I think at least for now, we're led to believe that enough damage is be done that Jason is stuck. That's a long answer to what I think of that ring of fire, visually, the opening and the beginnings of this film are terrific. Yeah. Great opening scene, great closing scene. Nice book ends here. So yeah, chops him up, all the guts come out of his neck and whatever. She gets him there, does some CPR, pukes up some water, and the kids are elated. I mean, the one thing that they never really addresses, I mean, Megan's got to go around the corner and see her dad in a pretzel, which is going to be horrific, right? But Tommy's got the solace at the end of the day. It's done. The deed is done. Jason's back in hell where he belongs. And I think we can put a bow on it, on his character, right? Cut back to the water. Well, let me ask this first. I mean, the state of the Friday franchise currently, I mean, the last Friday film we had was in 2009, it was the remake, the Platinum Dunes, Michael Bay remake. I was already 15 years ago. If they were to find a way to, and they've talked about doing this show on Peacock called Crystal Lake that I've heard about, but I'll see it when I believe it, we kind of, we need to do something else with the Jarvis care. I mean, there's some me left on that bone to expand, do a different interpretation on it. Because he is a very formidable. He's Jason's van Helsing, right? Would you want to see that? Do you have an idea of like what you like, do you want a young kid? Do you want Tom Matthews age, Tommy Jarvis, like what type of Tommy do you think would be fun to resurrect in a new iteration? I'd say pick it up right now. If he's got Megan in tow and they're going to start a family, then I think you have a really interesting premise that you're going to work with because how does dad get over all of that? And I don't need to see freaking out in the middle of the night cold sweats PTSD, Tommy. But I need to see the duality of domesticated life, Tommy, that his family knows about and the life that he doesn't know about. And if nobody thinks that works, then just go watch Dexter and I'll tell you you're wrong. So you one kind of, I don't want to say old man, but like elder Tommy, family, dad, having to come to grips with fighting this beast again. Oh, that's interesting. Yeah. But like redoing what we've seen before, you think he gets back into mask making or find as a way of therapy, which I always thought was fascinating that, you know, little court family was really good at those masks and we never really did anything with that. You know, going forward, you know, there's this tenant in Buddhism that is on the road to enlightenment. If you meet the Buddha, you should kill the Buddha. I've always been really perplexed by what that meant because you thinking you've accomplished something philosophically and Buddhist principles is just your own weakness, preventing you from going into further. And thus the tenant is if on the road to enlightenment, you see the Buddha kill the Buddha. If you take some of that self healing and the philosophy that Tommy is going to definitely need to go through, when you get these spells that we've set up in this, these hard flashbacks that take me back to watching this person get killed or watching my good friend after we escaped the middle ward get killed or whatever these moments of trauma were, and they end up crippling him and taking him out of his normal life, then what is a great, great premise is the creation of the next mask to put on whatever person, and this is feeling a little dexterity, putting on whatever bad guy you want to put it on so that he makes them the next Jason in order to exercise or on the path to enlightenment, kill that Buddha. I love that. And then what does that look like from nine to five? Because when you get home at five, you know, meet Lofus on the table and it's time to play catch in the backyard with, you know, Tommy Jr. Or I mean that the mask aspect, I mean, he dons a mask to fight the mast, right? Love that. That could be interesting. I just I've always really liked this character. I mean, we in Loomis has had his fair share of Halloween adventures. I mean, nightmare doesn't outside of Nancy and or John Saxon doesn't really have that character that's, you know, popped up time and again, but it was really like Tommy Jarvis. It's he killed him in four by figuring out a way to kind of see him at his level, and then here, just again, formidable in a different time period, right? But oh, it's going to be a little harder than that to kill Mr. Undead Jason Voorhees. We cut to the bottom of the lake. He's there. It looks drowned out, but we cut on that iris and it's moving around and I think we have some more Jason adventures on the horizon and have to see how we deal with the undead spirit of this bogeyman, right? I have a couple little anecdotes here, oh, and then and then Alice Cooper graciously plays us out to the parking lot, $3 million budget, $20 million gross. I'm going to give it a little Jason, oh, sorry, people. That's a decent. I mean, if we're a studio, if you and I are running a studio and we put out the money for $3 million to do a little Jason film and at the end of the day, we come away with 17. Yeah, not bad. I mean, we can go make ordinary people, yeah, we can go make another drama there. We can put some money into that top gun movie that they're making this year. Plus, it's 1986, so 17 is probably more along the lines of 60 to maybe 90. Sure. Yeah, exactly. So that multiplayer, I mean, I understand exactly. I know why they kept doing it. I mean, even though the story idea, we're going to really start scraping the bottom of the barrel and stretching a lot of plausibility, I fully understand why they're doing it. I mean, it's the money side of Hollywood, right? Sure. And in no better genre than horror, where you can make something cheap and turn a profit, I would really like to see, because these are conversations neither of us have ever been involved with, which is, you know, you work at a studio and you know, you make all wakes of different genre. Like, let's say we work at Warner Brothers and we make Batman movies, we got Harry Potter stuff over here, we're doing Dune, we're, you know, doing some rom-coms, we're doing some big dramas for Oscar season, we're also turning out some horror films too. So like, I would love to hear the conversations on how like, what does the pie chart look like on like how we're stretching the budgets for all those films? And if we make more profit in one genre, it helps fund these other bigger films that we want to invest in like a Dune. Sure. If Dune's pulling in a $200 million budget, I mean like little James Wan's little horror film over here is going to help us out along the way, right? Right. So it's an ecosystem where without horror, I just don't think you can do a lot of these other things. And I think the little small indie studios like A24 and Neon, like I've really figured out that like, horse a meal ticket to help us and not our other adventures, right? Well said. And we didn't talk about one of the sequences in the movie, which is interesting is the office retreat paintball excursion, which is, you know, some other interestingly placed comedy. But a different stuntman was playing Jason in that scene in the director, I guess didn't like, you know, how he was looking there and he's kind of shown from the top up the feet. And these just doofuses, just all of them are just dispatch. The one guy is like his head, his arms ripped off and he's thrown against a tree trunk. Jason does a triple decapitation to three other people. And this other guy, I mean, if there was ever a definition for like little dweeb that would never survive a horror film, it's that guy. And they just find his parts later in the film. But the director made a choice, like I need something a little more imposing and then brought in Graham to play the character. Only film in the franchise to not feature nudity, much to the much to the dismay of the producers who were really saying like, put it in somewhere, man. But yeah, everyone stays pretty clothed up in this film. The finale was filmed in the swimming pool of the director's father, wherein they ruined his pool filter with all the fake gore, getting turned into it. Dad, can I make a movie, it's pool again? You're going to buy me a new pool now, yep. And the movie was supposed to end in a graveyard with introducing another character at Elias Voorhees, which is the dad of Jason. And they were just like, well, we started at the graveyard, why are we going back there? Let's do something different. But that character showed up a lot in the novels and just kind of off-handed mentions. But he's never, we've never seen him before, which is interesting because, you know, the Jason struck to me is always the maternal story, right? It's the mom who was slaving away, too busy to watch her son, and then he dies, right? When not being supervised. So everything started through her. Isaac Elias Voorhees has been hanging out the bar with Carrie White's dad, so I'm probably throwing a few back. And I liked it. And I liked it. Let's see. And then yeah, we talked about, we sure did talk about the "Elos Cooper" songs. So as tradition, instead of doing your favorite tasting note moment scene sequence, what was your favorite kill of Friday the 13th part six, Jason Lives? I think the crushing of the head for whatever cop that was that he meets outside the Crystal Lake cabins is a pretty good one. Not even so much in the moment, but later the After Effects with whatever that green shit is that's coming out of his nose is pretty good. I guess when you get your skull crushed, green goo comes out. Why not? Good one. I want to go with Pa Sheriff Pretzel Smash. That's a good one, too. But I don't even know the girl's name, but RV, Mirror, Rocker chick imprint, Intation, she's got a cool vibe, right? I mean, you get down with that vibe, but man, an unjustly end here, it's just. So again, if the MPAA is really cracking down on seeing blood and guts, finding a creative way to show something gruesome, on the other side of that indentation is a completely destroyed face, right? Yeah. So yeah, that one, and it's real quick, and it's, I mean, Alice Cooper's rocking. But those two, those, and Mr. Horseshatt, honorable mention, I mean, we've seen Jason hacking slash his way through people, grab people by the head and pop an eyeball out. But to just reach in, grab a heart, I knew he was like, "Mall around for a second." Yeah. The cult of Thuggy showed up for a moment, but a pretty brutal Jason there. What's the? Oh my God! Moment of Jason lives. Mm hmm hmm. That's a really good one. There's several that I would consider. I, I'm going to have to go with the outboard motor blade through Jason's neck and his spastic arm motions as he's getting thrushed about by that. Yeah. That was pretty good. Yeah. It's a good, it's a good kill shot. And we're not in any hurry to cut out of it. We're letting him really get, get cut up pretty good by it. So we saved the gore shot for the final, which seems appropriate, right? Sure. Yeah, why not? I think I'll go for the cabin aftermath when the sheriff opens, and I'm like, "Man, what, what happened?" How do you get it everywhere? How do you get it every, it's in the bowl of popcorn on the other curls bed. So I mean, then my imagination's able to do the work of someone got torn up in this place. And maybe I don't need to see that. And the aftermath's enough to make me go, "Oh my God, I need a, I need another bib and tucker." Yeah. Who's the master distiller on Friday the 13th part six, Jason lives? Tommy Jarvis is pretty good. Mm hmm. You know, we talk a lot about the final girl. We don't often speak about the final guy. It's a lot more rare, yeah, very rare, and I think through three different characters playing Tommy Jarvis, I think that character has been represented fairly accurately and consistently. What's his guys name? Tom Matthews. Yeah, Tom Matthews. I'm going to give it to Tom Matthews because I think that Tommy Jarvis presents a formidable opposition to Jason, and that's not something that we see very often. Good choice. Uh, Jason. Yeah. I'm going to go see J Graham, uh, my take on the podcast this week. This is my favorite actor to don the hockey mask in this entire series. Mm hmm. Six, three, two, fifty, I love the look. I love the gloves, the bandolier. I love the spear. I love the decomposed back end of his like Darth Vader head. The mask is still pretty well intact, uh, before it's going to go through some significant wear and tear here coming up. No, I think it's, I mean, play him as lumbering, going through the woods. Play him Frankenstein like, but he's got to look imposing, right? I mean, if he's doesn't look threatening, I mean, you just keep running, right? I mean, he literally stops the bug from driving right through him. So I've always liked how he played the care and I'm kind of shocked that he never got another chance, but until we get to hotter next, I mean, everyone else was kind of a one and done portrayal. So, and the same with Halloween with those guys, I mean, it was like a different actor each time, which sometimes it matters who's done it. I mean, there's a body language, right? Um, the mask is certainly needs to be intact. I mean, Halloween's going to butcher that till the, till the, the crows car. Yeah. Uh, but I got great. I don't know what his work and how they found him to is my favorite part of the story, which is so he didn't work in that, uh, paintball scene. So CJ Graham was a restaurant manager, uh, in the local town. And one of the things they did, I'm trying to imagine what type of a restaurant this was like, uh, it was a local restaurant where they would put on like stage shows during like, well, people are eating and he would show up actually dressed as Jason. And I think the, yeah, the directors and them went in, saw this guy was like, wow, look at this Hulk wearing this thing. Let's get him to play our guy and what a good move. I mean, this guy was, went from restaurant to like being in front of the camera. Right. That's terrific. Yeah. It's funny ways how you kind of get thrust into it. Anything else film wise for him after this? Is this it? One and done? I'll look it up. But nothing that I've heard of. It's just, yeah. Jason lives. Take your moment. The sun to live it. How you going to rate and grade part six, Jason lives? We have rocket, well, call single barrel and tippy top shelf. Where are you going this week? It's a call. This is call for me. Just a nice average solid film. Or movie came through with what I wanted to come through. It had some challenges that the MPAA brought on it that I think they handled pretty deftly. The story is mostly plausible with the exception of maybe for me, the overbearing police that just sort of metal things up and slow the action down. I thought that it was paced really well. It felt like a really long movie for 87 minutes, not so long that I'm like, turn it off. But I think they got a lot in 87 minutes, which is something that we love. Under an hour and a half is quite a feat. I think the characters are portrayed. I think everyone is represented authentically. This is a solid film. I think four, five and six of the Friday, the 13th franchise. And I know five isn't widely loved, but there's, I mean, we found some glory in five. I don't think anyone of you or I absolutely destroyed that film. It's probably my most re-watch of the series for all the, not re- like it's for all the schlock reasons, it's just, it's just, I can't believe this character is in this thing. I can't believe this is there. So there's a lot to come back to there and they kind of threw all that out the window and it's like, let's get back to basics and let's, you know, have some fun with the material a little bit. Yeah, exactly. Let's, let's have a good time making this movie. Call for me. Just call. Yeah. Great choice. I'll go call plus and get a little close to single barrel for me. I think this might be a little final chapter. That's still probably my favorite because it does lean into the dark a little bit and has its moments of levity and great Crispin Glover, Corey Feldman, it's a great little movie and Savini's effects are amazing. This might be number two for me. I mean, this is, I, this is a good time. I mean, let's have some fun with it. Let's do some fun things with the characters. You actually have a functioning camp for the most part. And I love a pseudo zombie Jason here. I mean, I mean it when I said that like when you bring up the character to people, they probably think of a version closer to this than the earlier films. Sure. So I think there's more things here and yeah, it gets a little, the plans a little half baked for me and yet the stuff with the law enforcement and, you know, you're getting the best acting you can from relatively unknowns, but the meta aspects in the film, I think, take it to another level and I'm really shocked that they didn't stick more with that. And that, that kind of became the no more for this series going forward. I mean, we're certainly going to take a big swing with the next particular film. And I think Jason lives as a win. I think this is a no paramount six films in. They got to be happy at the end of the day, right? I mean, you watch this, he can be disappointed, especially if you were trying to do a course correction off a five, right? Sure. So my question to you, and you know, we asked this a lot through these series and we'll ask the main question at the tail end of who's in the best shape of the state of the union on the franchises, right? Yeah. But my question to you before we cut out here, where would you, where do you think this is going next and or what would you like to see next? Is there a particular path you would like to see with what this sets up or what do you think? Like the full knowledge that we made money and we're going to, we're going to, we're going to take another swing at this thing. That's a tough question. Maybe it's because the legend of sleepy hollow has been heavy on my mind the last couple of weeks. Interesting. You know, I've been thinking a lot about that in regards to Cobra Kai because it's going to be weird, but just ride with him for a minute. I think where Cobra Kai found most of its traction is the vilification of Daniel through the heroism of Johnny. So it's all in the perception of who's telling the story. Yeah. That got me thinking about brown bones of all people. There's an interesting story there. Ichabod shows up rolls on the woman that Brahms have been pursuing for all these times. And Ichabod kind of seems like a prick to be honest with you. And I think that there's a story that is similar to that. What if brown bones is the son of a farmer in sleepy hollow, who's made his fortune at the pumpkin patch? Okay, blah, blah, blah. I've got a whole idea about a story for this. No, think about that. The pumpkin patch in sleepy hollow is quite the tale. You said pumpkin patch from my brain goes instantly to Charlie Brown. Oh, yeah. Great pumpkin Charlie Brown. That's my bad. No, it's fine. No. What has that pumpkin patch seen? And what is the necessary reasons for keeping it alive in sleepy hollow? Like what are you protecting? And we're getting into the occult and harvesting. And there's a whole weird kind of wicker man feel to that with me. And what exactly is brown bones all about? There's a story there. I think there's a story here with the person that started Camp Crystal Lake early, early, early, early on. So we're going way prequel like the originator. So like 50s camp crystal. Yes. Yeah. That person. Okay. And we can play along with Jason Voorhees his mother and what happened on that fateful night when that kid didn't make it. There's a story there that leads into and then you threw it in my mind, the Elias Voorhees piece in this. Yeah. What's dad doing? I want, I think I want that like let's let's go before all this shit broke loose and let's go back to original villain number one mom and see where she cut her teeth on this. I think there's some there's some room there and maybe that's what that crystal lake series was going to look into. I don't know. They oft mentioned never quite gone into production yet. Yeah. We'll see. Yeah. Let's go. I just, I don't know the status of like where that's at right now, but yeah, exactly. Let's go. I love that take. I kind of thought you were going and maybe this is we'll take it into a direction of where I would like to see it going. And I'll tell you both. I'll tell us both right now. We could not be more wrong where this is where where this thing is headed right now. But I thought when you said that, like a jealous lover who's seeing his girl with some other person. Rembones. Yeah. Uh, going to the lake and using Jason as a means to get his girl back by setting this monster loose and it just starts ravaging the town until it's a problem, right? Look at what a hero I am. I'm going to save you from this. Yeah. What did I set upon this earth now? And then so it becomes, well, I got to put this thing back, then you get into a bit of a Frankenstein-y thing again, too, right? That guilt of what if I brought upon the earth again, yeah, in a bit of a revenge love triangle. That could be kind of fun. Yeah. Uh, but yeah, we couldn't be farther from the truth. Uh, we'll get there eventually and that'll be just a wild conversation. But fun talking Jason lives with you. I think it's been a lot of fun and fun to show to you. And maybe you saw it back in the day, but as I tell most people with, you know, these any horror sequel that you don't repeat a lot, I mean, it just all kind of blurs together up here. But each one does things interestingly and differently in their own right. So that's kind of the fun experiment that we're playing around with here. Yeah. Um, but hey, let's wrap up with what's coming next. [MUSIC] [SINGING] [MUSIC] [SINGING] [MUSIC] I got to tell you, if I went on like a July afternoon, saw Jason lives and then like that plays me out to go to the mall theater, where I'm going to go get a slice of Sabarro and like I'm hanging out with like a date or something. Maybe I'm just by myself. I don't care. That's a pretty good afternoon. This is a great way to leave the theater here. This song I unashamedly absolutely love this song, the man behind the mask, the Jason song, right? Again, leaning into we're having fun with the idea and let's have a pop song. Let's have a rock song about the movie instead of just like, "Rando Harryman for Deany music." I'm down and just it's, I would hope Alice Cooper plays that live when he does a set, right? I mean, that'd be cool. You got to whip that out. Sure. That is a great song. So that's a wrap on Jason lives here and then coming up next week, a film we've been talking about I think for years, I think for three years and we'll have to see if there's some truth to why that happened. Does this feel like a film that's been sitting on a shelf for two years due to COVID or whatever write off and whatever David Zazloff at Warner Brothers is doing? But I think it's a film very near and dear to us because it's our favorite Stephen King novel. We've said that many times on the podcast, we're getting another crack at the material with the released on Thursday, Max's Salem slot, I don't know. I do not know what's waiting for me in the great town of Salem slot. I know Jerusalem slot, sure. I know some of the cast, but it's mostly pretty VC grade. I don't know if that's going to hamper it, but I mean, there's certain, I mean, you mentioned, I think, brilliantly a couple of weeks ago. You can't compare books to movies and movies to books as two totally different mediums. They don't translate there. The way you picture that is differently, but with Salem's lot, I've made that movie in my head meeting the book at least five or six times. I know how I want that to look and I know I'm not going to get that. So let me put that to rest right now. But there's certain things from the book that I think are germane to its success that need to be in the movie, right, a certain tone, a certain style, a certain clickety clack at the windows seal. And we'll have to talk about if it's given to us next week, right? I love that the film that we're going to do in that space is the off-discussed, widely disappointed. Although I think we both agree that the first movie is pretty good for B for a B movie. It's a pretty solid film, good for made for TV, damn right. I think that this is as Ry smile as Ry smile has ever gotten what's happening this next week is going to be so much fun and we don't do a lot of streaming stuff. We do some here and there, but most of it's theatric release. We're going to break that rule this next week and tackle Barlow. What's your one expectation? What's one thing you need to be in there for you to be happy? The hideousness of Barlow has to match the original, because he has to match because in the OG, he's got that purple nose for rot to like appearance, right? They have to pull that off. Barlow has to work. Has to. Yeah. I think, just as important as Barlow, the familiar who's laying the groundwork for him to prey on this town like a festering virus. Yeah. And I like Lewis Pullman, man. I mean, do Nepo, baby, right? Yeah, Bill Bill Pullman's son, but he's making a name for himself with Top Gun Maverick and a few TV, the rumor is, is that he's sentry in that Thunderbolts movie. Oh, wow. But I'll believe it when I see it, much like this movie. But hey, check that out on Max. We'll be back next week and then we'll get back to, man, we're going to go to Dreamtown and you are not ready. I'm not ready. We need to watch that one together because it is a miasma of WTF, but it'll make for a great conversation here on the show. So sweet. Until then. Until then. Hey, cheers. I got to get going. Um, I got to go clear out an RV. Uh, do you want to come help me or depends what kind of music you're going to play? Are you going to go 80s rock or we're going to go grunge? Let's go prog rock. Done. Okay. That's good. I'm glad you play in the prog rock space. Russian. Yes. Until we can't stand it anymore. There you go. Ha ha. We'll see you next week, everybody. Have a good week, everybody. We will see you in the dark. Thank you for listening to Ry Smile Films. Be sure to subscribe to us on Apple Podcasts, Spotify, Podbean, Stitcher, TuneIn, or if you listen to podcasts, be sure to leave us a rating and a review while you're there. It really helps out the show. And for RySmile Films merchandise, go to tpublic.com. Friday the 13th, part six, Jason Lives, his property of Paramount Pictures and Tear Inc. And no copyright infringement is intended. Until next time, cheers. Bye. (dramatic music) [BLANK_AUDIO]
