This is a film Josh just watched again for the first time in a while and Yakov has watched a bunch of times of the years, and we both still enjoyed it a lot. It’s got its odd bits (we pick at the specific cinematic pacing and framing of the happy doggy that nothing bad ever happens to such a good doggy such a goooood dog YES you ARE yes you ARE, and at the sometimes uneven feel of some of the effects montages, etc) but as an overall story it holds up great, dodges a lot of the characteristic stupid that creeps into a lot of horror film, and has just a great clever goopy collection of practical creature effects that manage to be both creepy as hell and laugh-out-loud funny.
We also try to figure out if Kurt Russell’s main character, “Mac” Macready, is actually a horrible son of a bitch who no one would like if there wasn’t a catastrophe going on (not that anybody in the film really likes each other in any case); whether Childs is actually the station hair stylist; whether Wilford Brimley is really Wilford Brimley if he doesn’t have his mustache; whether the whole film is actually yearning to be an exegesis on the problem of the Philosophical Zombie and/or the AIDS epidemic; and more.
Josh also blows his nose, something he just kind of wants to apologize for again right here. It’s cold season.
Next fortnight, we’ll be keeping up on the Thing theme with a double feature of decades-separated bookend films: the 2011 remake-but-actually-a-prequel-I-guess “The Thing”, and the 1951 film “The Thing From Another World”. Thanks for listening, and we’ll see you then!
After endless delays, it is, at last, time for Friday the 13th part 4: The Final Chapter, a film that is absolutely worth the wait in the sense that it is probably worth waiting around to do something else instead of rushing to see it.
So it’s episode 24! That’s 6 episodes per part of Friday the 13th! Or, yes? Math? Yes. Yes, math.
From the clever numbering scheme it’s clear this one came along when the franchise was already established; shot in 1984 and trading on a reliable monster brand, it feels very much like the platonic ideal of a franchise sequel slasher film, which is not the same thing as being an ideal horror film but it does get points for hitting the numbers in more or less the correct order for the slasher template.
And, hey, wee Corey Feldman. And Crispin Glover! As an awkward but unexpectedly un-weird teen who has trouble getting laid until he doesn’t and also gets murdered.
We talk a bit about whether being underwhelmed by the film is a reflection of our failure to dig into the franchise as a complete work (and thus have both an emotional and a critical/observational investment that’d allow us to scrape for more details to discuss like we did with the Hellraiser films). We also speculate about what’s missing from the cut we both watched versus the hard-to-find six-minute-longer cut. Probably some murders? Probably.
Josh also advances the theory that little Feldman’s character is actually a sort of horror Mary Sue origin story for makeup effects legend (and this film’s makeup guy) Tom “the dude with the revolver crotch in From Dusk Till Dawn” Savini. The kid is a monster makeup wiz *named Tommy*. Just…just putting it out there.
Also, one time? Yakov tried to shave his head and then gave up half way through:
This is what his hair looked like on purpose for a while, apparently. To be clear, Josh is writing these sentences, and is also shaking his head, which has hair distributed more or less uniformly across it. LIKE YOU DO, YAKOV.
Let us not forget one of the most important things about the Universal Monsters era: The Creature From The Black Lagoon was created by a woman, Milicent Patrick.
Nearly unheard of at the time, ms Patrick is responsible for creating one of the single most recognizable characters, not only in Universal history but in all of film history. She was an incredible talent and she should be honored as such.