Halloween 2018 Review

And thus it was Halloween 2018 came out last year to excellent reviews and an enormous box office return. With a budget of $10m it pulled in over $255m. That’s insane for a slasher movie, simply unheard of. Put it like this, media darling Scream did $174m with a $14m budget… like I said, insane!

But why is this new Halloween the most successful slasher movie ever made? You can point to a few things. Bringing in John Carpenter as executive producer would’ve given it some clout with genre fans. Obviously Jamie Lee Curtis coming back (again) was a HUGE bonus. The fact that it was exactly forty years since the classic original added something to the mix. Releasing it in October (seems obvious but hasn’t always happened) helped. With all of those factors I’d have said it’d do similar business to the remake which came out in 2007. It tripled that!

The fact is, Halloween 2018 is just a fantastic piece of modern cinema. It might not be as intelligent as Get Out or (despite a calamitous final act) Hereditary but pound for pound I found it much more entertaining than both. Halloween 2018 is gleefully aware of what it is but instead of making fun of itself and winking at the camera, it takes itself very seriously and invests in its monster. To paraphrase another monster, it set out to Make Michael Great Again.

How did it do this? Well as nuts as it sounds, Michael Myers is (mostly) defined by the mask. You nail that and you’re well on your way. The Halloween franchise has been plagued by shitty masks that don’t even come close to emulating the terror of the original mask from 1978. This movie goes out of its way to show you that this is the same mask that Michael wore on Halloween night 1978 and the wear and tear the mask has endured in forty years only serves to make it even more terrifying. Bravo to Chris Nelson of the make up FX team. He went to extraordinary lengths to make us believe it was the same mask.

The decision made by writer/director David Gordon Green with co-writers Jeff Fradley and Danny McBride to completely ignore all but the original was genius too. I mean, don’t get me wrong, I’ll watch any Myers movie (bar Resurrection) even Curse (it’s hilariously bad) but Halloween became a shitshow. You can argue the toss as to when this happened: Maybe it happened when they decided Laurie and Michael were siblings. Maybe it happened when Michael became some kind of a druid curse. It certainly happened when Busta Rhymes kicked Michael through a window. Or maybe it happened the moment they hired Rob Zombie. All of these reasons, among others, are reason enough to jettison the whole backlog of sequels and build on the original. In many ways, the fact that Rob Zombie had already remade Halloween worked in their favour because it took that full remake option off the table…

Jason Blum is also a factor. He acquired the rights because he wanted to make a great horror movie. He picked people he believed could deliver that. He challenged John Carpenter to get off his couch and help make this as good as it possibly could be and he tasked him with writing the score. This proved to be extremely shrewd. Carpenter has been touring his quite magnificent music for a few years now (I was lucky enough to catch his show in Dublin a couple of years ago…incredible) with his son Cody and a rock solid band behind them. He’s more musically focussed than he has ever been and the work being done by himself, Cody and Daniel Davies (pictured above) is remarkable. They could have delivered a decent play on the old Halloween theme and that would have been fine but what they actually delivered is a pulse pounding, electrifying score that elevates this movie to a higher level. Kudos to all involved.

I am going to discuss the movie now so spoilers from here on in:

A couple of journalists, Aaron and Dana, visit Smiths Grove State Institute to try to get a word with Michael before he is transferred to a much more secure hospital. They meet the extremely helpful Dr. Sartain who took over treating Michael from the late Dr. Loomis. Sartain takes the couple out to the yard where Michael is getting his hour a day of sunlight. They are warned not to get too close. Predictably Michael doesn’t acknowledge them until Aaron takes Michael’s old mask out of his bag. He has borrowed it from a friend at the states attorney’s office. I suppose a forty year old case, who’d give a shit? Anyway, Michael with his back to them seems to sense the presence of the mask and moves ever so slightly. Just for a second you can see some of the scars from his battle with Laurie from 1978. Fuckin’ chills!

The journalists leave the hospital a little deflated by the encounter. But they are not without hope. We next see them driving to meet Laurie Strode.

Before I continue, it is important to say a word here about Jamie lee Curtis and the character of Laurie Strode. She basically invented the resourceful final girl with Carpenter and the late great Debra Hill but in this movie she’s telling, not only mothers but grandmothers too, you still have strength in you. You’re a long way from finished but sometimes you have to fight for it. It’s truly inspiring because in an age where we’re telling young women to stand up and take what is rightfully theirs, we may have forgotten to send that message to older women. It’s just so fucking powerful and positive.
Add to that, the #metoo movement was in full voice when this movie came out and there are obvious parallels. Laurie was attacked and years later she gets to shine a light on her attacker and fight back. Cynics say they played up to this in the media. I disagree. I think they took what was happening  with #metoo and added another voice to it. Laurie Strode’s voice. It might have taken her forty years but she’s getting justice. Rose McGowan is currently going through something similar…

Unsurprisingly Curtis is astounding in the movie. Every single syllable, every movement, everything… I just believe her. In movies like this, that’s a hard job. Look back at all the slashers you’ve ever seen. The acting is either terrible or it plays it safe and winks at the camera… None of that shit here. Curtis is so strong that it infects the rest of the movie. Laurie Strode is real therefore Michael Myers is real. Therefore, Haddonfield is fucking real. Brilliant!

Back to the journalists. They visit Laurie who reluctantly lets them into her very secluded but very secure home. They try to convince her to visit Michael before he is transferred (the night before Halloween) to his new “home”. She declines. We learn that she has had failed marriages and her daughter was taken from her by concerned social workers. Laurie’s life has been a reaction to that fateful night in 1978. If it ever happens again, she and her loved ones will be ready…

Her daughter Karen, played well by Judy Greer, seems pretty together when we meet her. She’s married and has a daughter, Allyson played by Andi Matichak. They are a typical suburban family and we like them well enough. Karen has friends who we meet and again, we like (most of) them. Her boyfriend, Cameron seems a little dickish but that might just be me. Oscar is the fun but flawed comic relief friend. But her other friends, Miles and Vicky are great. This is important when the killing starts. It’s more impactful if you care.

The movie starts to floor it when Laurie, sitting in her car, watching as a bus full of inmates, including Michael (and his doctor who is way too sympathetic toward Michael) pulls out of Smiths Grove on its way to a destination it will never reach. Laurie already knows what’s going to happen. She’s in pain but her anger outweighs her fear. The anticipation of what’s about to occur is unbalancing her. She’d rather be in a wardrobe fighting Michael than hiding in one waiting for him to find her…

As expected, the bus crashes, Michael escapes killing many including a boy who you’d guess is about thirteen years old. This immediately establishes Michael as a fucking monster. No redemptive qualities here, he’s fucking cold to the core. Michael needs a car, there’s a boy in the drivers seat, he kills him. There’s nothing more to it. That’s not to say he indiscriminately kills. Far from it. Plenty of people survive the bus crash. Prisoners are seen strolling around and many are picked up by police later. Michael wants to go home. He doesn’t need to kill everyone to get there. He picks his battles. Some people found the killing of the boy a bit too much… it feeds into a scene with a baby later in the movie. I’ll get to it soon.

Laurie shows up to a family dinner. She’s a mess. “I saw him, I saw the shape”. She’s the only one who truly understands Michael’s nature. Karen chastises her. Allyson is far more sympathetic. Regardless, the night is pretty well ruined and people go home sad, confused and angry.

Meanwhile Michael heads back toward Haddonfield and finds the journalists from the opening of the movie at a filling station. It’s broad daylight but that doesn’t stop Michael from killing several staff members. Michael has always been a prankster. After all it’s trick or treat time. Having removed teeth from one of the station workers, he follows Dana into the public toilet. He pushes her door. She tells him to move along. He moves to his left… but moves back to her door, his hand reaches over and he pours the teeth onto Dana’s head. It’s. Fucking. Terrifying. But it’s exactly what you expect from Michael. He’s been dorment for forty years, now he’s having some fun. Dana screams and does her best to escape. Aaron hears her and comes running with a tire iron. He does his best… they both die pretty horribly. Michael goes to their car and takes back his mask. Haddonfield is in for on shit night. The music is perfect here too.

Meanwhile, Laurie has heard about the bus crash and goes into attack/protect mode. This just further isolates her from her family. Karen declares that the world is full of kindness and Laurie is the problem. She kicks Laurie out of her house.  Allyson is ready to party at her school’s Halloween bash. She and Cameron are going as Bonnie and Clyde. She’ll be Clyde, he’ll be Bonnie. Nice J Oscar is partying with them while Miles will be going to see Vicky (played by absolute stone fox Virginia Gardner) who is babysitting. Not good in a Halloween movie!!!

The Police Dept in Haddonfield are deeply concerned by the disappearance of Michael Myers, none more than Officer Hawkins played by the always good, always looks like he needs a hug Will Patton. He was there the night Michael was captured in 1978 and like Loomis, he wanted to kill Michael. Well, nothing is going to stop him from dealing out justice tonight.

At this point, Michael is having a hell of a time. He’s strolling around his old haunts. Reliving his night and offing innocents when he feels like it. One scene sees him go into a house. He kills a lady which is bad enough but as he goes to leave the house we hear a baby in a cot and there simply isn’t a person in the audience who isn’t thinking “oh shit, there's a baby in that house”, especially after he the way he took the car in his escape. He looks at the baby briefly as he walks out of the house and we breathe a sigh of relief. INCREDIBLY, this upset some people. “Why didn’t he kill the baby?” Fuck me! What the fuck is wrong with people? First of all, he only killed the kid earlier because he was in his way. Second of all, the baby simply isn’t a threat. Third of all and I repeat: What the fuck is wrong with you?!!!

Moving on. Laurie is out patrolling. She’s not going to wait for Michael, she’s going after him. She wants to face him. For his part, Michael has found a babysitter in the form of Vicky, who is happily making out with Miles. Her scenes with the kid are hilarious. Michael’s trick or treat levels reach a fever pitch here and when he finally attacks Vicky we are sad. She screams at the kid to run which he does… boy does he run! Miles, hears Vicky scream and goes to help her. We see his remains later. Officer Hawkins arrives to a house with two dead people in it. He’s understandably nervous as he searches for Michael. Laurie sees him first. She’s outside telling people to get off the streets…When she and Michael finally see each other, it’s from the street looking up to a window in one of many houses in Haddonfield. She doesn’t hesitate, she takes out her gun and shoots. The shot is perfect, straight into Michael’s face…. But it’s a reflection from a mirror… Michael leaves at this point. Whether he’s bothered or excited by seeing Laurie, we can’t tell. He does give her the signature head tilt though 

At this point Laurie is desperate to make Allyson and Karen safe. Allyson has had a fight with her boyfriend and has left the party with Oscar who idiotically makes a move on her. She leaves him alone. He ends up in a “Mr. Elrod’s” back garden (nice nod to H2 there). There’s a garden light on a sensor… Oscar is sitting in the garden looking a sorry figure. In the background a figure appears. We already know he’s doomed but Oscar thinks it’s Mr. Elrod and starts confiding in him.. it’s hilarious. The light switches off and when it comes back on “Mr. Elrod” is noticeably much closer. Oscar is clearly freaked out but still thinks he’s talking to Mr. Elrod. The light goes off again and just as it comes back on Michael attacks. It’s a fantastically paced jump scare. Oscar ends up impaled on a fence. Allyson finds him and runs. Unlike Halloween 1978 the neighbours let her in. She ends up in a car with officer Hawkins who has brought Dr. Sartain along. 

Laurie is frantically searching for Allyson with Karen. They can’t reach her via phone as it got destroyed at the party...

Hawkins sees Michael on the street. He drives straight into him. Michael is unconscious on the road. Sartain kills Hawkins. He’s completely obsessed with Michael and wants to feel what he feels when he kills. It’s a strange twist but I appreciated it. A doctor this dedicated to Michael would probably have to be insane. Poor Allyson can’t catch a break. She’s trapped in the squad car with and unconscious Michael beside her and Sartain who just wants to get the Michael and Laurie show going. He drives toward her house. Michael wakes up and instead of killing Allyson attacks Sartain… on the road again Sartain looks up at Michael and asks him to say something. Michael responds by stomping on his face and killing him instantly…

The final shopwdown between the Strode women, all three generations of them and Michael Myers is brilliant. Laurie does most of the hunting. Michael finally attacks her and they fight. It’s fucking viscious. Laurie ends up thrown out the top window of the house. Michael looks down and she’s gone. It’s a brilliant play on the end of the original movie. You get the feeling Michael thinks “so that’s what that feels like”… It all ends with Karen and Allyson in an underfloor panic room. Karen had earlier referred to it as a cage. She finally picks up the gun Laurie showed her how to use as a girl. Laurie attacks Michael from the shadows, using his tricks against him. Karen screams from below, pretending to be usless. Michael can’t resist. He approaches. “It’s not a cage, it’s a trap” She shoots him. He falls into the panic room but is already getting up as they are leaving. A moment later he is trapped. Laurie hits a switch and iron bars imprison him in the panic room. He just stares at the women. Emotionless. Still. And waits. Laurie burns the house to the ground.

The Strode women have won but Haddonfield has, once again, taken an absolute beating from this maniac.

It was recently announced that this movie will spawn two more movies. Halloween Kills and Halloween Ends. Some people eye rolled at the announcement. I was chuffed. I want to see where they take this. Because the filmmakers have committed to the material. Nobody is abandoning ship here. It’s a long term project by people with a genuine passion for Halloween.

Endgame of Thrones

Endgame of Thrones

Right, I think enough time has passed for me to start laying truth bombs without ruining it for
everyone. That said:

  

   
First up: Avengers Endgame. Let’s be clear. I loved Infinity War. Like, I LOVED it! It could have beenan absolute fucking mess but it was damn near perfect. And that ending! Whoa! I mean, what the
fuck can the Avengers do now? They lost. Half the universe is gone. I mean, they could probably still
do something but half the fucking universe is gone regardless. No comebacks from that I’m afraid.
And if you think that a franchise of over 20 movies, most of which have been wildly entertaining will
do something as awful as use time travel…. Well you’d be 100% correct.

It is without a doubt the worst and laziest plot device known to man. Whenever it turns up in a movie, you’re better off fast forwarding to the end to watch all the horrible stuff that happened in the movie get magicallyerased. Because that’s what always happens. Save yourself the time. Skip to the end and watch howa fucking DO OVER (in a movie where they say no do overs a lot) saves half the universe. It rendersInfinity War entirely pointless. Gutted.

But you like Back to the Future I hear you say. And you’re right, I do. But that movie is all about timetravel. It’s not just shoehorned in there.

I have other gripes. The Infinity Gauntlet was made by Giant Peter Dinklage and he is the only one
who could have forged a gauntlet powerful enough to case all the infinity stones. Right? Wrong! Iron
Man can make one. Guess he just had some spare parts floating around. Good for him… Oh and with
a little help from Ant-Man he works out time travel in an evening… impressive.

It’s not all bad. Hipster Hulk is inspired. Fat Thor is an absolute treat and having him shack up with
the Guardians of the Galaxy could be great… The action sequences are very well done. The
trademark snarky humour remains intact. Captain America facing down Thanos and his massive
army by himself is a bit of a moment… But this isn’t the Thanos that snapped his fingers, this is a
“previous” Thanos. I guess. While I’m on Cap, Steve Rogers goes and uses time travel to go back and
have a life with Agent Carter… it is a lovely moment but doesn’t that undo his original sacrifice? Or
maybe it doesn’t, it’s such a confusing and shitty development that my rage overpowers and sense
of empathy or goodwill.

You know what I would have preferred? Here’s your ending. Have one movie. One! Basically all of
Infinity War but have Iron Man (or Vision just to give him something to do) go on a quest and make
another Infinity Gauntlet. Tack Endgame’s ending on the end there, “I’m inevitable”, “I’m Iron Man”.
He saves the day, Thor goes for the head. Boom! There’s your fucking movie! No time travel, about
three hours saved and enough sacrifices made to keep people talking. But if that had happened
Disney would be down about €2.8bn. So, ya know…. Time travel.

And onto the other crippling disappointment of the year: Game of Thrones. Maybe we should have
seen it coming. Gendry’s ability to run and a Dragon’s ability to fly faster than Superman on steroids
hinted at problems toward the end of season 7… But they were taking their time with this season.
We were going to have to wait until they were good and fucking ready! Good, take your time. Don’t
fuck it up! The drip feed started when we were told there’d be feature length episodes.. but then we
heard there would only be 6 episodes. Spidey senses were tingling at this point. There’s still so much
to cover, six episodes seems a little sparse. But I think we swatted the tingles away, it’s GOT. It’s
never been anything but riveting… And just having it back was enough to get pulses racing.

It allstarted reasonably well. Starks met up. Hurrah. Groundwork was laid and on we went to episode
two. I enjoyed this one immensely. More groundwork was laid but there was some really nice
moments as people open up a little, because they all think they’re going to die. Thrones secret
weapon, humour, is also used rather well.

Onto episode three where the cracks begin to show.Oh were ready for a battle! And we got one. We just couldn’t see it. The next day, we were told ourtelevisions were not adjusted correctly. 50 years ago we were told “do not adjust your television set” by a television show of the same name. In the age of the 50” plasma with 4K and HD we’re told to adjust it so we can see what’s happening! I’m sorry but fuck you! This was badly made, end of. Below may or may not be an actual shot of season 8 episode 3...

Now there were decent moments in there and some of the distant visuals looked great but the up
close stuff was wretched. The Night King had one job. Get to Bran Stark. Not really sure why, but
rather than wait until everyone is dead, he rushes into battle and exposes himself. Arya Stark flies
out of nowhere and promptly kills the idiot. Loved it was Arya who killed him, hate how it was done.
I still don’t understand it. Oh, and everyone’s favourite hottie (or mine at least) Melisandre had been
telling everyone that she wouldn’t survive the night. She does, so out of embarrassment I guess she
goes and kills herself. I guess we’ll find out more about the Lord of Light from someone else, except
we won’t. There’s no mention of him in latter episodes. Oh well. Can’t really be angry at this show, I
mean one mediocre episode does not a bad show make… hold my starbucks cup…

Look GOT team, if you’re not going to take this shit seriously then why the fuck should we? Aside
from the coffee mishap there were other glaring errors. Tormund waxing lyrical about Jon Snow
riding a dragon is a doozie. “What kind of a person climbs on a fucking dragon?” Well apparently you do Tormund or have you already forgotten???

Moving on. The main fuck up this season was how they gave us too much story in too few episodes.
And when you rush, you make mistakes. Like leaving starbucks cups or plastic water bottles in shots.
The show runners just wanted this shit to end, or that’s’ how it comes across anyway. Dani sees her
mate decapitated and decides that everyone in the Red keep should be burned to death. Tyrion, had
asked her to call off her inevitable victory if the surrender bell was rung but she just goes full agent
orange and doesn’t stop. You’re either the kind of person who thinks GOT has been building to this
moment and this was unrushed and fully earned or you’re the kind of person who thinks this needed
a lot more fleshing out and is completely unearned. I’m the latter. The episode in question looks
terrific but that’s all I can give it.

It’s odd, I’ve been talking Got for a while now and I’ve only just mentioned Tyrion. His trademark useof  language is horribly underused. He’s reduced to an also ran for a lot of this season and while he gets the best lines in the final episode, well, by then it just doesn’t matter. Jon Snow kills Dani. Her dragon sets fire to the iron throne and fucks off. Someone really should hunt that thing… just in
case! Bran is made king and everyone sort of just goes home. It’s really funny watching the Dothraki
heading off without a care in the world. YOUR QUEEN WAS JUST STABBED TO DEATH LADS! These guys would usually butcher continents over a game of tiddlywinks… Bran becomes King which is pretty funny. I guess he’s no longer the three eyed raven or whatever the fuck that was? Cercei dies with Jamie in an utterly pointless way. A room collapses on them. If they’d just climbed into the mouth of the giant dragon skull nearby they’d have been fine. Only The Hound gets and ending worthy of note. His fight with the Mountain is very satisfying. They both go out in a blaze of glory though again, The Mountain killing his creator in a split second, while funny, felt…yep… rushed!

 
And that is that. I’ll buy the box set and watch them all back to back at some point but it will be awful watching the latter part of season 7 and most of season 8 drag this incredible show down a few
pegs. Subsequent rumours of HBO offering the show runners more episodes to do it right does not
show the writers in the best light. I guess the pull of a galaxy Far Far Away is to attractive. Problem
is, while these guys had GRR Martin’s books as source material, they made great television. As soon
as the books dried up, it went south. Who will they look to for help with Star Wars? George fucking
Lucas? Oh Christ.

Cheers,

G.

Why I Love Movies (Friday the 13th Part VI - Jason Lives Edition)

Back in 1980 Warner Bros released Friday the 13th on a tiny budget and made a fucking killing. Two years previously, Halloween had taken everyone by surprise for two reasons. A. It was excellent and B. It was an enormous success For its $300,000 investment it pulled in $55,000,000 in the US alone. WB wanted some of that easy money and with a budget of $550,000 it made nearly $40,000,000. Not quite Halloween money but still huge.

Despite this enormous success Warner Bros were sort of ashamed of the movie and sold the rights to Paramount. Why were they ashamed? Well the acting isn't good (it did launch Kevin Bacon's career though) and the excessive gore put the studio off. Paramount had no such scruples and put out yearly sequels that all did huge business. Jason Voorhees and that hockey mask had built up a huge fan base but when they killed him in the hilariously titled "The Final Chapter" and put out Part V which didn't feature Jason (outside of flashbacks) there was a backlash.


It was decided that Jason would return for part VI. And Tom McLoughlin was installed as director. His proclivities leaned toward early Universal pictures and so he decided to bring Jason back with a play on the old "it's alive" routine (see video). McLoughlin also knew that a fifth sequel was more than just a bit ridiculous, so he imbued his movie with some enjoyable banter, one liners as well as nods and winks to horror. The marker is laid down pretty early on in the movie where, once resurrected, Jason gets his very own James Bondesque intro (again see video). It's clear, the emphasis is on fun here.

For what it's worth, here's the plot: Tommy Javis survived an attack by Jason in The Final Chapter. He's been in an institution ever since and haunted by his memories. As seen in the video, his attempts to extinguish those nightmares backfire spectacularly and it isn't long before Jason Voorhees is heading back to his old stomping ground to take up his old habits.

If you missed the sense of humour in the resurrection scene, you really can't miss it when Tommy charges into the local Sheriff's office and begs for help. The Sheriff's reaction, "you in showbusiness kid, you sure no how to make an entrance." I mean, that's just straight up ripping the piss and it's brilliant. It's also evident at this point that McLoughlin has managed to cobble together a decent cast. Sheriff Garris (named after horror legend Mick Garris) is played by David Kagen who had been a decent television actor and worked for decades after in some big television staples. He also runs an acting school, the guy can deliver a line! In another fantastic piece of casting, his main deputy is played by Vincent Guastaferro who had also been a solid television actor up to that point before going on to huge shows like The West Wing among many others. This cast had game.

After Tommy is thrown into jail for the night, we are introduced to a couple who you just know are going to die but again, it is to the movies credit that it is done in a pretty funny way. There's a fair bit to unpack here so stay with me: The couple who are clearly lost are driving a VW Beetle. The passanger, Darren, played by Tony Goldwyn (more on him in a sec) is staring at a map. The driver, Lizbeth, played by Tom McLoughlin's wife suddenly hits the breaks. "Darren we'd better turn around" "Why", asks Darren. "Because I've seen enough horror movies to know any weirdo wearing a mask is never friendly". The camera jumps to Jason standing in front of the car with the iron pole that helped resurrect him in hand. It always gets a laugh because her delivery is excellent. This is a movie that constantly winks at the audience. Darren takes a gun out of the glove box and gets out to face our anti hero. There's more fun dialogue from Lizbeth before Jason stabs him in the nuts and launches him through the air. Lizbeth tries to run away but falls into a puddle. She takes out a wallet and offers Jason cash. He stabs her in the face but as she dies her clenched hand unclenches and an American Express card floats in the puddle prompting you to shout "don't leave home without it". It happnes without fail, every single time. Seriously, try it. Watch this movie with more than 3 people, someone will shout that... So back to Goldwyn, he had never acted before but would go on to The Last Samurai with Tom Cruise as well as a whole host of movies and television shows that would make most actors extremely envious. It's just another example of how clever they were casting this movie.
 
Another decent cast member is Jennifer Cooke who plays the Sheriff's daughter Megan who strikes up a friendship with Tommy Jarvis. She had been in V (the tv show about invading aliens) which was a huge success but, to my knowledge, didn't do anything after this movie. Pity because she was good. Her friend Cort is played by Tom Fridley who I'm pretty sure is John Travolta's nephew. Anyway Cort gets himself an RV and meets up with Nikki for a late night shag in the woods. Nikki is played by Darcy DeMoss and in 1986 she was a slamming hottie. Turns out Darcy had made a some softcore movies but surprisingly for a Friday the 13th movie, pretty much kept herself covered up for the sex scene with Cort. It may have disappointed some but it did show that, despite everything, they were trying to make a decent movie here.

It all moves at a fair old pace with Jason in fine form, even showing some comic timing of his own. He could have popped out of the bushes at any time but he waits for the best possible moment...

The movie is littered with moments like this. One cop takes an arrow to the eye, the movie immediately cuts to a dart boad on the back of a door. Another scene has a drunk singing to his bottle of booze, right before his last sip he says to it, "darlin' you're gonna be the death of me, oh but what a way to go". The bottle ends up in his throat... It goes on and on.

Friday the 13th Part VI - Jason Lives is the only Friday that actually has kids on the camp grounds while Jason is doing his thing. Kids are a risk in any movie. They can kill the whole fucking thing Phantom Menace style but these kids are pretty good. While hiding in a cabin under beds and listening to the screaming going on outside, one kid says to another "so, what were you gonna be when you grew up?" Legend!

Another thing this Friday has that others don't is a pretty decent car chase. Megan has broken Tommy out of prison and when driving eratically her muscle car is spotted by a deputy. He calls the Sheriff who is at a road block. Garris asks for a description of the car, he gets it... "that's my daughters car". Awkwardly the deputy asks, "how do you wish us to proceed sir?" "With extreme care asshole. If that kid is with her there's every chance he'll do something crazy". Cut to Tommy saying to Megan, "please don't do anything crazy".You know what, just watch it, it's great fun:

As mentioned before, Jason Lives treats horror fans to some nods to legends of the genre. There's a mention of a station in "Carpenter". There's "Karloff's" General Store and of course Sheriff "Garris". "Cunningham" Road. Another movie did similar in the mid 90's and became a phenomenon. I am talking about Scream. Friday the 13th Part VI - Jason Lives laid a blue print for that movie but instead of whiney teenagers dressed as a ghost we have Jason fucking Voorhees. And while Friday gently pays homage to the genre, Scream goes full meta and, eventually, up its own arse.

One other ace up this movies sleeve is a fucking kickass soundtrack provided by none other than Alice Cooper! The standout tracks are Teenage Frankenstein used brilliantly in the RV scene with Cort and Nikki. Hard Rock Summer, used brilliantly in the car chase scene and He's Back, The Man Behind The Mask which is an exquisite piece of cheese that gets into your head and doesn't leave. Kudos to all involved...

When the movie came out it divided critics which for a Friday movie is serious fucking progress indeed. Predicatably enough some critics just dismissed it as more of the same. It wasn't and I wonder if some of them even bothered to watch it. One review in the Irish Independent gave me a chuckle. It read something like this: "Jason Voorhees comes back from the dead and runs around Crystal Lake searching for whomever is responsible for this trash". Some really appreciated the efforts made by the film makers though and praised its sense of fun. It is still the best received Friday and given that there have been six Jason movies since (two with pretty big budgets) that's a pretty decent achievement.

Friday VI is not a great movie but it is a great Friday movie. The balance between horror and comedy is well done. Jason is viscious but there's a lot of dark humour to be enjoyed too.... If you're that way inclined...

I'll leave you with this wonderful dollop of cheese:

Cheers,

G.

PS4play!

Been ages so let's just get into it...

Wolfenstein: The Old Blood was picked up on The PS4 store for under a tenner. It is a prequel to the excellent Wolfenstein: The New Order and it packs a serious punch. As you can see from the pic above our Nazi horde are not staying dead and need to be dealt with undead style. My taste for killing Nazi scum has not diminished, indeed, given how things are in the world today it has actually intensified. The Old Blood gives chance after chance to do this and it's a blast!

As you might expect, fom a FPS the action comes thick and fast with all manner of weapons at your disposal. The Old Blood doesn't have the same sense of scale as The New Order but it is a blast. And while the end of game boss is fucking stupid, it leads quite nicely into the start of The New Order... Looks good, plays as it should but nothing took me by surprise: 7.5/10 Trophy Count: 34%

Look at the image above. It looks amazing, doesn't it. Looks however, can be very deceiving. Many fans of Tolkien hate the liberties taken by the "Shadow" games. One such liberty, Shelob is actually a woman who takes the form of a spider. She also hates Sauron. Of course this is stupid as we know Sauron looked on Shelob as a bothersome pet but given how feared she was he was happy enough to let her patrol Minas Morgul but it didn't really bother me as nothing in this game is canon... In Middle Earth: Shadow of War you, once again play as Talion. Together with Celebrimbor (your internal ghost elf who still won't let you die) and at the behest of a surprisingly affable Shelob you must take back the lands of Middle Earth from the dark hordes and defeat evil once and for all... It goes like this: Take over a load of weak minded orcs, attack a fortress with your army, capture it, uncover more of the story. Like its predecssor Shadow of Mordor, the grudge feature remains and it is both infuriating and genius because orc captains long disposed of will come back from the dead looking for revenge and their timing will drive you mad. You may be in the middle of a tough battle mid level and here they come all levelled up to throw a spanner in the works...

So we fight our way through Mordor and there is enjoyment to be had in doing so. Placing your captains in power is satisfying and you will get to know some of your orcs. As the game goes on it does get a bit samey and it's around this time that you reach a point where you fight Sauron (and others) and it feels like the game is over. HOWEVER, and this is a game ruining however, after your battle with Sauron the game inexplicably makes you take over every fortress in the game again. It. Takes. Forever. It's also harder this time round and all it did was make a game that was starting to feel too long anyway even longer. Honestly, it fucking killed it for me. When I started this game I was mildly entertained by it, then I started to enjoy it, then I wanted it to end and if it had ended at the logical closing point I'd have given it a 7/10 but they dragged it out and I still can't figure out why. As I said, a game ruining fuck up by the developers and if there is to be moredor (ahem) I'll be avoiding... 3/10 Trophy Count: 77%

After the crushing disappointment that was Shadow of Mordor, my good friend Oisin gave me a lend of Final Fantasy XII: The Zodiac Age. I gave him Doom, we both did well out of the exchange... I had played this game on the PS2 but I was eager to have another go because back in the day it took a bit of stick for having flat characters but got a lot of praise for its battle system. I also wanted to compare it to more recent Final Fantasy efforts. As you might expect, FF XII fares very well in that regard.

So what's the what? Well story wise, FFXII while being quite dense has a more European vibe to it so it's far less bonkers than you'd expect from a FF game. Pricess Ashe of Dalmasca has apparently suicided after hearing her husband, Prince Rasler of Nabradia has died in the battle against the Archadian Empire. Said Empire have taken over Dalmasca and it is up to a few rebels to save the world... So Star Wars... Ashe, of course, hasn't killed herself and through several enjoyable plot developments she links up with Vaan, who lives on the streets of Rabanastre (Dalamsca's capital city) and his friend Penelo. Along with Han Solo wanna be and almost is Baltier, his side kick Fran and Basch who is on a quest to redeem himself after losing the war.

But it is in the battle system where this majestic game truly shines... Preparation is key because your gang, on getting in range of enemies do not wait (unless you specifically set it up that they do beforehand... like I said, prep) and will attack at pace immediately. As with previous FF games you have your warriors, your thieves, your mages, your healers and variations on all of those. You will assign one of these skills to each player and as you progress through the game your skills open up on a skills board where your precious battle points will be spent "buying" new abilities and opening up all sorts of limit breaks and spells etc. It's a fine system that encourages you to fight. And fight you will... often because the battle system is a holy fucking delight! Tweaking your characters different challenges is enjoyable. At times it almost feels like a football management simulator. Bear with me. In a footy sim, you spend time with your team. You may even set up easy games for them to see what they can do. Once you see each player's strengths you utilise that for the betterment of the team. Final Fantasy XII is exactly the same. Set your team up and send them out into the world in front of you. A few easy battles to get you into a rhythm and build up battle points to unlock more abilities... when bosses come along your team will need to be tweaked. Similar to a footy sim if you're playing Dundalk FC you might feel well equipped to beat them but if Juventus FC are in town you'll need to tweak it. Watching your characters do as you set up is immensely enjoyable. The story is engaging and curiously, the "bland characters" some critics moaned about back in the PS2 days feel positively Shakespearean compared to the damp squibs and frankly eye twitchingly annoying (remember Vanille from FFXIII) weirdos we've endured in later fantasies.

I can't speak highly enough of Final Fantasy XII. It's a challenge but you can decide to finish it quickly enough. Or, like me, you can decide to explore and track down every single Esper, side quest and secret of which there are shedloads. I eventually gave up looking for secrets after I dunno, MONTHS of gameplay. It looks incredible, it plays perfectly, the voice overs are top drawer and the story is not as bonkers as you'd expect. Minor quibble? If you want to fully explore you will have to grind, but hey, it's an RPG. BUY. THIS. NOW: 9/10. Trophy Count: 60%


I picked up The Evil Within for a steal at a tenner on the ps store. I wanted something short and horror filled. I got a bit more than I bargained for. The Evil Within was directed by Shinji Mikami who is responsible for Resident Evil and that really was enough to peak my interest. While this is certainly a survival horror type of game it actually felt a lot closer to Silent Hill than Resident Evil.

Story wise it's absolutely bonkers. Seriously Japan, what the fuck is in your water? Here goes: You play a detective investigating a murder scene at a hospital with two colleagues. About a nanosecond into your investigation you are thrown into a nightmarish alternate reality where you are stalked by a nut wielding a chainsaw. Once you escape the hospital you and your colleagues try to escape the city which is literally falling to pieces all around you. It's very dramatic. Of course you are separated from your friends and you are left to try and navigate the city by yourself. It leads you to a nightmarish world in forests, small towns, hospitals (all the classics from the survival horror back catalogue) and you are pursued by creatures and possessed people who stop at nothing to disembowel you. It is unsettling. They all seem to be doing this at the behest of a starnge hooded character who clearly has a gripe with the world... The plot gets more and more bonkers, the more you play. I didn't care for it to be honest. I did care for the gameplay.

The Evil Within starts out quite difficult. I found the early chapters really tough but as I got used to the gameplay I navigated latter chapters quite well and disposed of bosses with ruthless efficiancy. The bosses are quite enjoyable battles and indeed, disposing of the creatures in different ways is always a delight. It's gory, it's scary and it's fun.

Another absolutely bizarre addition to this game is the upgrade scheme. At various points you will hear Clair De Lune, yes the piano piece by Claude Debussy which signals an upgrade room is nearby. This being the fucked up game it is though, it's not a standard go into room, get upgrade and leave. It goes like this. You hear the music, you find the room, you go into a mirror within the room and there you meet a creepy nurse who leads you to a chair and the upgrade takes place in a pretty violent way... as you progress through the game the upgrade room falls into disrepair and there are plot clues to be found within also. It's a really strange way to do things but that's this game summed up. It's fuckin' insane... and that's the point. I'm sure someone out there cane explain the plot to me but I don't care. I'm sure it's very clever...

Where this game lives is in the destruction of hideous creatures and creepy visuals. It excels at both. I recommend this game at a sale price. I haven't had any urge to download the dlc or play the sequel but that might change down the road. Score 7/10. Trophy count: 24%

Metal Gear Solid V: The Phantom Pain: And there I was thinking I simply couldn't get any weirder than The Evil Within, MGS V takes weird to entirely new levels. I wanna preface this by saying I've enjoyed most of the MGS games. The PSone classic still makes most games seem lazy by comparison, part 2 on PS2 was also great (despite its bizarre last act) part 3 also on PS2 was a cast iron classic with one of the mos beautiful endings I've ever seen in a game. MGS4 on PS3 however was a fucking chore. Too many cut scenes that were far too fucking long and a plot that is just too mad for me to fully get my head around. I stopped caring pretty quickly playing that game and simply couldn't wait for it to be over. Such was my dislike of MGS 4 that I had no interest in anything MGS related so when a new MGS game came out on PS4 I zoned out. I did hear that it was a really expensive demo that would act as a lead in to the new MGS 5 but that irritated me even more. MGS V: The Phantom Pain came out several years ago. It was expensive but it was also well received by critics. I still wasn't sold until last October when I picked it up for €8 on the PS store. I mean, €8 is fuck all so I thought why not.

You start the game in a coma because of the happenings in the "lead in game" and with the help of a guy who sounds just like Snake (voiced by Kiefer Sutherland) with his face wrapped in bandages you begin your escape when the hospital is attacked by a bunch of badass soldiers who want you dead... big time. One is a very attractive lady who your snake sounding buddy sets on fire. Anyway, you're both attacked by a bloke who is a walking inferno (see pic above) and while you're dealing with that, every staff member in the hospital is murdered. It's pretty graphic stuff.

Once you make your final escape you are met by Ocelot who is dead set on helping and protecting you. This is right at the start of the game and it's where my confusion began. I remember thinking to myself, "didn't I FIGHT this guy in an earlier game?" So it turns out it is the early 80's and you are in Afghanistan fighting the Russians. Charlie Wilson's War anyone? Anyway, at that point I thought, wait, is this a prequel to the events in Metal Gear Solid on PSone? I'm still not sure. Anyway, Ocelot tools you up and it's off you go.

The game plays like this: You start out at Mother Base in the middle of the ocean. You call for a helicopter and check your "idroid" for missions. When you decide to take one you you grab your weapons etc and a "buddy" a dog (great dor sniffing out enemies) or a horse (great for getting around) and there is the option of taking another buddy depending on how you end a particular mission. I'd say be merciful and you'll benefit. You'll know it when the time comes. The game itself is actually really fucking good. Snake has shrapnel in his head after the events of the "demo game" and he also has a prostetic arm. This only adds to his badassery. He infiltrates, he silently kills or he goes in all guns blazing. The choice is yours and I never felt like I was being judged for doing things "my way". There is also the option of knocking out enemies and sending them back to mother base via fulton balloon. This is fucking hilarious but also kind of important for building up your army and base. You steal materials and diamonds, also crucial for base building and after a while I started to think I was maybe building the very army I'd be fighting against later in my life (in earlier MGS games) I was really fucking enjoying the game and on Christmas Eve a good couple of months after starting, I got to what I thought was a the final battle against a giant Metal Gear. After literally hours of trying I beat the fucker. As you'd expect there was an epic cut scene but it wasn't the end. And not only that it pulled a Shadow of War on me by making me replay earleir levels on harder modes in order to unlock the end of the game. This is fucking absolute bollocks and I developers must stop doing this. If I want to play a game in hard, I will put it on hard in the settings. I always play games on medium as I'm just not that good a gamer and I like to be able to have a fair chance of beating the games I play.

Despite that absolutely horrendous flaw I'd still recommend MGS V. When you're in the thick of the missions it flirts with genius. It looks truly incredible and despite me not understanding a lick of the plot or indeed the ending I still enjoyed the journey... If it didn't force you to replay already incredibly hard levels on harder modes it'd be a near perfect game. Such as it is though it's a rock solid 8/10. Trophy count: 49%

Until next time... enjoy your games and always wait for a price drop!!!

Cheers,

G.