Say hello to our favorite HorrorAddicts.net 10iversary television blogs!
Say hello to our favorite HorrorAddicts.net 10iversary television blogs!
Coming into its thirteenth year, Abertoir goes from strength to strength. Located on the Aberystwyth University campus on the Welsh coast, the team have broken out the tents and the log cabins this year for the slasher/camping theme. Complete with the offsite screening of Friday the 13th: Part 3, in old-school 3D, the unlucky number 13 is the (un)lucky number in Wales as the year draws to a close.
Running from Nov. 13-18, and starting with a drinks reception and the classic 1984 film Sleepaway Camp, the bloody celebrations will be going off with a proper bang, or flash of the knife at the very least. No doubt the festival-goers will be partaking heavily of this year’s Abertoir ales, aptly named Black Christmas and Crystal Lake, as they plough on through a slew of slasher classics such as Slumber Party Massacre and Prom Night, along with new films such as Summer of ‘84, and Blumhouse’s new thriller, Cam, throughout the six-day run.
There are three UK premieres at this year’s festival, with Occult Bolshevism, The Black Forest, and Party Hard, Die Young, all getting their first outings on the isle in the Abertoir cinema. The short film competition (with previous years seeing modern classics like The Birch being shown) promises to be top-notch once again, showing off the new blood heading towards the horror stage.
It’s not just the films, however, that makes Abertoir unique, because there’s a whole slew of other events lined up for this year’s festival. From the traditional Bad Film Club, always a crowd favourite and chance to heckle your heart out, to the fascinating presentations and live performances, Abertoir always makes sure to make it an all-rounder of a week, not simply about the films. This is the festival that hosted the European premiere of Fabio Frizzi’s live composer’s cut for Lucio Fulci’s The Beyond a few years ago, and this year’s musical masterpiece looks to be the culminating event in The Elvis Dead, a one-man retelling of The Evil Dead, through Elvis Presley songs.
But what would a festival be without a special guest? Don’t think that just because it’s tucked away on the west coast of a little, mostly rural, country, that they don’t pull in some heavy hitters. Previous guests have included Doug Bradley, Victoria Price, Luigi Cozzi, Robin Hardy, Lamberto Bava, and a booked-but-unable-to-attend-on-the-day Sir James Herbert, so this year’s guest has a lot to live up to. Thankfully, they meet the criteria. Including a Q+A, a special screening of a new project, and a three-hour filmmaking masterclass… the one and only Sean S Cunningham will be venturing out to the windy coast. As if the festival needed another prestigious name on the list.
So if you’re in the UK and happen to have a few days free next week, Abertoir Festival 2018 promises to be a week stacked with cult classics, great premieres, lots of laughter and barrels of ale. And if you can’t make it this year, well, you know where to come next year.
Article by Kieran Judge
Friday the 13th: The Series Loses Steam in Season 3
by Kristin Battestella
The 1989-90 final twenty episode leg of Friday the 13th: The Series sputters as Micki Foster (Louise Robey) and Jack Marshak (Chris Wiggins) continue to retrieve cursed objects sold from the Curious Goods shop. Ryan Dallion (John D. LeMay), however, can no longer confront the evils they face, and Johnny Ventura (Steve Monarque) doesn’t fully comprehend the magical wrong doings of their terrible quarry.
Crosses, Madonna statues, religious paintings, and church festivals create Old World feeling in “The Prophecies Parts 1 and 2” as Jack is off to France claiming he’s researching spiritual phenomena – which isn’t that far from the truth. Creepy long nails, sharp teeth, evil eyes, and demonic voices accent 3:33 a.m. bells, prayers, and eponymous readings as priests cross themselves against possession, hell hounds, and evil tomes. If Lucifer can do his work in a holy place, what hope is there for the rest of us? Family reunions are bittersweet between miraculous visions, foretold fallen angels, and whispers of demons wanting a soul. Frightful falls, a pilgrimage blasphemed, scripture versus scripture – is the faith of a child enough to trap this evil in the protected Curious Goods vault? Though the good gone bad themes feel rushed in the second part, fiery thunderstorms and disturbing violence set off the big terrors for this opening twist. Upsetting injuries, gang violence, and shocking car accidents continue in “Crippled Inside.” It’s difficult to cope with the wheelchair bound result – until an antique pushchair provides some healing astral projection and gory doppelganger payback. What’s a little acid or a short walk off a tall building among rapists? This dilemma on an cursed quarry’s justified usage happens almost without the regular trio, establishing a pattern this season where our collectors are excused away or stumble onto the curio after an otherwise anthology style tale. Gross boils and a bloody hearing aid worming its way deeper anchor “Stick It In Your Ear” alongside magic tricks, blindfolds, guessing game schemes, and the ability to hear people’s thoughts. Camera revelations, scary editing, and vivid sounds make the audience fear this evil little amplifier! Had Friday the 13th continued, it would have been neat to see one elusive object reappear each season, and the standout “Bad Penny” revisits the ominous coin from Season Two’s “Tails I Live, Heads You Die.” The piece is found in the rubble with a skeleton or two alongside cops in the back alley, informant prostitutes, laundered briefcases, and shootouts. Jack and Micki are understandably upset to battle this piece again, and tender moments come between mistakes, conflicts, trauma, and car chases as a cop raises the wrong ghoulish person from the dead with dark magic he doesn’t understand.
Whoopsie, a car radio is sold from Curious Goods without checking if it is on the evil manifest while vintage automobiles, confederate flags, and redneck racism set the tone for “Hate On Your Dial.” Our villains were already nasty before the sale, using derogatory terms and shooting at children for funsies, and such murderous blood on the dashboard is a time travel catalyst for a black and white Mississippi trip. Again the social statements are mostly developed without the series stars, and the fictitious fears wrapped in real world horror is somewhat uneven thanks to the back and forth editing between the color present and the black and white past. The appalling racism issues, however, are both dated yet still relevantly disturbing. The eighties may have been thirty-five years from this past depiction, but we aren’t much better in the near thirty years since. More silver screen clips and vintage film reels provide a fallen Old Hollywood glitz in “Femme Fatale” as an aging actress’s screenwriter husband tosses young starlets into his cursed print. How many pretty face fatalities will it take for his wife’s young onscreen self to permanently exit the frame? The eighties does forties mood goes all out with film within a film classic movie retrospectives on lost youth and escapist ingenues willing to do anything to be in pictures. Samurai swords and family honor bring the 1945 Tokyo start of “Year of the Monkey” full circle with sensei instruction, a poisonous tea set, and our trio on the trail of some creepy little see no evil, hear no evil, speak no evil monkey statues. As is often the case, the Japanese motifs are slightly cliché exotic with calligraphy, rice paper screens, and guest Tia Carrere (Wayne’s World). Fortunately, the generational lessons and revenge mysticism prove themselves with each statue testing the telepathy, teleportation, and ritual suicide for a promised immortality. Satin lined coffins, somber organs, and Polaroids for the company scrapbook open “Epitaph For a Lonely Soul” between fluids, tubes, classical music, and some sherry while working on the gory wounds and ghoulish purple tissues. Vintage embalming equipment can reanimate bodies, and the candles, grave digging, and undressed corpses suggest a twisted desecration. Memories, decomposition, and the trauma of life renewed hold the undead pretty captive – and Micki may be next for our lonely mortician.
Perilous kids and dogs are quite graphic with very little for “Repetition” and the missing posters, confessionals, and hidden bodies add to the immediate guilt and personal dilemmas caused by a life trapping cameo necklace. Ghostly echoes and desperate kills repeat this swapping cycle as drinking and homeless shelters crisscross over dead mothers and fatal trades. Ironically, Micki isn’t even pursuing the locket and Curious Goods merely bookends the hour. Despite a reversed episode listing order, The Complete TV Series DVD Set has “Spirit of Television” next complete with swanky parties, thunderstorms, seances, and a madame calling on the deceased through a suspect vintage television. Unfortunately, the seemingly happy chats with the departed are followed by upset ghosts, and the subsequent blown up boob tubes and electrocutions in the bathtub renew our madame’s youth. The fantastic conduit, static white noise, and spooky nostalgia accent the psychic fraud as the team must both debunk and retrieve the cursed set – doing what Friday the 13th should with this supernatural late season redeemer. Likewise, the poolside bullies and strong arming of “Jack-in-the-Box” lead to floating bodies and one of Micki’s friends among the deceased. The surviving daughter acts out and rightfully slams the adults responsible. However, the titular toy turns her innocence and grief into vengeance. Drowning in alcoholism parallels set off the ghostly visits and fatal vignettes, but our curio trio can’t endorse this creative revenge no matter how justified. Ancient Gaelic languages, candles, charms, and oak trees open the 1984 prologue for “The Tree of Life,” but when a husband objects to this so-called mumbo jumbo as part of the prenatal regime, these druids cum nurses keep the baby. A present pregnant couple shopping for dolls at Curious Goods is also scheduled at this rigid clinic, and our collectors involve themselves in this sisterhood of spells and solstice sacrifices. Too bad Last Season’s white versus dark coven rivalries weren’t tied in among the disagreeing team and women versus women cult extremes. A shady professor also tells his female students to get in touch with their dark side in the series finale “The Charnel Pit,” and the blindfolded nightcaps lead to a two-sided, time traveling painting said to be done by the Marquis de Sade in blood. Torture, shackles, and a little loving pain leave Micki trapped in the eighteenth century disguised as a duchess and writing of her alluring predicament with Mr. MdS. The boys, meanwhile, must figure out which of the painting’s victims are from the past by looking for a lack of dental work. Fancy dressings add to the courtly facade, dungeon gallery, and willfully sinister charm, for after all, one learns a person’s true colors with a whip. Fortunately, there’s just enough room for one more cursed antique in the vault.
Friday the 13th’s previous two seasons certainly had some duds, and there aren’t as many super bad clunkers in this shortened year. Most of these episodes are okay or decent, but no one really puts everything totally together to zing like the memorable years prior. Dated surveillance equipment and Aliens wannabe trackers in “Demon Hunter” are hammy early with hokey moonlight silhouettes and more Predator commando knockoffs. Power outages at Curious Goods, a museum returning a sacrificial dagger, and further dark secrets hidden beneath the vault that could have been explored more are shoehorned in like an A/B plot behind the laughable family vengeance meets monster puppet, and R.G. Armstrong’s annual Uncle Lewis appearance is sorely missed this year. The series also randomly plays with inconsistent time travel and flashback aspects with one episode’s flashbacks in black and white but another time travel hour in color. Rather than previous innovative technical attempts, the style doesn’t seem to matter. We also never spend enough time at Curious Goods, and “Midnight Riders” has our team star gazing while teens necking in a nearby car are accosted by a try hard phantom gang and local Sleepy Hollow biker legends. A ghoulish headless biker reattachment can’t save this one – oh, and Jack’s mysterious sea captain dad not seen in ten years is somehow in this backwoods on top of those annoying teens who, it turns out, are siblings! A late night swimming pool in “The Long Road Home” is also an excuse for a juicy underwater lip lock between Micki and Johnny amid storm warnings, terrible flirting, and a tacked on yin yang charm with body transferring properties. Highway diners, cliché taxidermy, and country killers can be found elsewhere in horror, and Friday the 13th strays from its virtue once the protagonists use the evil object and its hammy body swaps when it suits them. The trio is actually more present and capable than usual in deducing the preposterous selfishness in “My Wife as a Dog” when a miraculous leash helps a whiny fireman make his ailing dog and soon to be ex-wife one and the same. Curious Goods being cited for not being up to fire code is the better story, and this is an unlikable, perverse little episode with major mixed messages on making your woman a bitch and moving your dog into the bedroom. Again,
Our Micki may get groceries or stay at home and research, however she also continues on a case without Jack or Ryan and it is dumb to have her repeatedly call Johnny for unnecessary help when we’ve seen her face plenty of evil on her own. It’s also surprising she would let a man follow and attack her just to get an object – as if, not that it is her only plan, but rather just the best the writers could do. Micki is either the lovely victim or referred to as minding the store and doesn’t always have very much to do either way. “Bad Penny” has Jack give the past exposition rather than show Micki speaking about the experience herself, although she’s right to be afraid of dying in this fight against evil. The trio is also closer to the terror and within the investigation sooner for “Mightier Than the Sword” thanks to execution protests, pardons, and a pen that lets the author write what the guilty party will do while he gets the subsequent crime writer exclusives and literary glory. Jokes about word processors versus the good old pen and paper write themselves amid nom de plumes and slashers who don’t remember their fatal deeds. Unfortunately, Micki struggles to resist the scripted urge and uses a discreet straight razor to scratch her new murderous itch. She’s briefly smitten by a vampire again, trapped in a gangster movie, and sucked into a hellish painting for some 1790 saucy, too. There are consequences and nightmares as a result, but it’s understandable to see Micki snap – wouldn’t we all? Despite a brief Roxette mohawk meets I Love Lucy updo, one of those fake ponytail braids a la Madonna, and some lovely baroque feathers and period frocks; most of the time Micki’s style is maturely toned down with more nineties turtlenecks and business blazers. By the end of the season, she is once again independently strong, breaking in places and confronting people rather than letting these evils continue.
Once again, Jack’s continental battles have one wondering what Friday the 13th would have been like with him alone on the evil relic hunt. We don’t even get to see it when he’s said to be off recovering the Shard of Medusa from Year Two! The devil punishes him for all his good works, but Jack officially becomes part owner of Curious Goods on paper nonetheless. He’s the reluctant treasurer of the Antiques Association, too, but doesn’t like having its swanky party at the store when the other snobby dealers belittle his occult focus. Jack takes the lead in most cases, researching all aspects and utilizing his magic act connections or Druid knowledge. He also looks more nineties suave in more suit styles rather than his somewhat quirky trench coat and hat. Jack’s there for Micki as a fatherly shoulder, telling her to not let evil defeat her and even getting harsh with her when he has to be. He brings Micki food when she’s on a stakeout, too – even if that’s more about delivering some exposition. Jack waxes on good, evil, the gray between, and how their job never seems to get any easier in “Night Prey” thanks back alley bites, impromptu stakings, and one killer crucifix. Granted, some strobe effects are hokey, however those vampires floating outside the church’s stained class windows are eerily effective. If the show insisted on branching out from the object of the week format, it could have been cool to see Jack team up with such vampire hunters more often. This lone wolf monster vendetta with misused medieval relics feels like a rare Jack-centric episode, but the team is two steps behind as usual and Jack dictates information just as much as he gets in on the conflicted action. He admits that in their line of work, doing the right thing can be a little too weird sometimes, and Jack gets caught in the middle with twisted romance, then shocking innuendo, and murdered priests. It’s 1990 but these vamps are pretty indiscriminate on who they bite.
Unfortunately, Ryan is clearly over all the death in his life, and close to home battles versus Lucifer interfere with a new chance to bond with the mother who abandoned him. Seriously, how do you explain this line of work to mom? Demonic corruption, violence that can’t be undone, guilt, and final heroics send the character off in an eerie and unique, if far fetched exit. It’s at once cathartic to see innocence win in a series where evil can’t always be defeated, however, continuing Friday the 13th with two thirds of the regulars and a tacked on pal shifts the show’s dynamic considerably. Johnny Ventura suddenly becomes Micki’s sounding board but he feels more like an intrusion rather than helpful. The hood from a few episodes last season is now supposedly the hero as if a stranger dropped in with no explanation when the series had other opportunities to involve better mystical support. Whether Johnny stays at the store or has his own car is inconsistent depending on if he is called for a lame reason or if his wheels are part of the plot. He remains a non-believer in the paranormal even as Jack tells him to make himself useful and warns Johnny to take these dangerous curios seriously. Johnny can’t retrieve an object alone nor mind the store without selling the wrong item, and takes an ax to an indestructible evil object when not trying to use the evil for himself. For being the young muscle, he gets knocked out a lot, too. Johnny does write fiction by getting ideas from the tabloids – which Jack calls rubbish even though earlier in the series he said the rags were the best place for tips. They discourage him from writing about the store, but an underground publication angle might have been neat instead of pushing this new character at the expense of the others when Jack and Micki get on as a duo just fine. Thankfully, Johnny is put to use climbing outside to adjust the television antenna. Heck, Jill Hennessy (Law and Order) pops up three times as a sultry vampire, snotty secretary, and a lifeguard. She could have kept around as an undercover regular disguised per antique.
Orange lighting, distorted bells, white out eyes, and wolves leaping through windows keep up the horror intensity alongside foggy cemeteries, stone crypts, religious iconography, fires, and red devils with the horns to match the ghoulish skeletons, gory flesh, and melting oozes. Underground tombs, torches, demon altars, rune manuscripts written in blood, and pentagrams beneath the vault help make Curious Goods by lantern light even creepier, and there’s a stained couch with a body in the pullout cushion! Mirrors assure those vampires have no reflection, there’s holy water on the shelves at Curious Goods, and the store’s business cards give its address as 666 Druid Avenue. Hearts pounding and distorted camera angles set off veiny prosthetic gore even if the period flashbacks and foreign locales are slightly under budget old looking. Fortunately, the retro designs make the most of the horror effects, building that patina mood with frock coats and frilly collars for some provincial time travel or green lighting, cigarettes, and noir styling for the vampire nightclub. The swanky cars, station wagons, mothers in sweaters and pearls, and thirty year old high schoolers with bad perms keep the nostalgia in the forefront, compensating for reused sets and locations or that same Tudor house used for everything. The early computer snooping is also somewhat fake. You couldn’t just type in a name on blank screen and get clues back in the day! What do they think this is, Google? This was the era of phone booths when folks still had black and white televisions, and Friday the 13th gets then edgy by using ‘bitch’ a lot – although such grit feels hollow when wearing those big eighties blazers and tiny bolero ties. Men in tight jeans, long scarves, duster trench coats, and mullets isn’t so timeless nor are the seriously purple eighties mod bathrooms with black fixtures and bloody bathtubs. Of course, rather than due to any letdown in syndication popularity, Friday the 13th: The Series was canceled at a time when sponsors and advertising were swayed by complaints on television violence and how far shows could push the envelope in prime time. In retrospect, it’s an ironic end knowing everything seen here is almost friendly fair compared to the excessive shocks across all the television viewing platforms today.
Season Three strays from the Friday the 13th formula as cast changes and a larger focus on plots of the week loose the ability to fully capitalize on the spooky ideas presented. Fortunately, enough late hour gems keep these terrible little tchotchkes entertaining for old school horror audiences and series completists.
More Freaky Good in Friday the 13th The Series Season Two
by Kristin Battestella
The 1988-89 Second Season of Friday the 13th The Series boasts twenty-six more episodes featuring antiquing cousins Micki Foster (Robey) and Ryan Dallion (John D. LeMay) alongside occult expert Jack Marshak (Chris Wiggins) as they face increasingly scary retributions in their ongoing quest to retrieve the evil objects sold from the Curious Goods store by the late Lewis Vendredi (R.G. Armstrong).
The snakes, violent patients, and rowdy mental wards escalate in “And Now the News” as one greedy doctor uses an innocuous looking old time radio to scare patients to death and pin the rising fatalities on those in the way of her medical glory. Retro hospital greens and white uniforms add to the paranoia, analysis in fear, and suspicious research for a warped dose of self-fulfilling prophecy. Sure there’s electroshock therapy, but our collectors have become a little more professional, making an appointment, handing out business cards, and explaining how they buy back antiques for their shop – if not why. Grave diggers and thunderstorms accent the robes, chanting, torches, and rituals of “Tails I Live, Heads You Die” while one handy gold piece raises decomposing bodies from the dead. Black masses and alchemy history hit home the occult danger and gruesome horror movie atmosphere for our bold team as backward prayers and coin tosses determine one’s fate. Granted, the concert with a ghoulish monster below in “Symphony in B#” immediately screams Phantom of the Opera knockoff. However, the masked, mostly hidden and morose villain matches the well-edited suspense, and the cursed violin music creates a melancholy theater mood as doubts about a lovely violinist luring Ryan put him and Micki on opposite sides of the case. More behind the scenes strife, jealousy, and temperamental stars make for a fun picture within a picture in “Master of Disguise.” Curious Goods rents their non-cursed décor on set, and the dolly zooms, soft focus, and back glows play with the movie making charm while a handsome actor with a sinister make up kit is desperate for fresh blood. Gossip rags, lookalike costumes, toasters in the bathtub – the Chaney ‘Man of a Thousand Faces’ and William ‘Karloff’ Pratt references wink at the steamy smoke and mirrors and life imitating art. Only on Friday the 13th could one drop studio lights on an extra’s head and bludgeon an actress with her own award.
“Wax Magic” pulls out all the Freaks meets House of Wax eighties carnival stops with Gravitron and music montages updating the familiar horror themes for this boys night out including eerie effigies, Lizzie Borden weapons, and murderous handkerchiefs. The sculptures hide warped love, magic tricks, and some good old fashioned murder, but it’s nothing a little fire and icky good melting special effects can’t fix. Ventriloquist dummies in horror are always suspect, and this one takes on a sassy little life of his own for “Read My Lips” by getting too fresh with his handler’s fiancee and driving him to murder and madness just to keep their act in the spotlight. Talk about biting the hand that feeds you! Is it the dummy itself – there’s no such doll in the Curious Goods manifest – or killer clothing used to reanimate something monstrous? Naturally there is some bemusing dummy violence with heads in the freezer and puns to match – “Death is easy, it’s comedy that’s hard” – but while some delight in their cursed objects, most are destroyed by them indeed. Elaborate bee boxes, swarming visuals, and buzzing audio lead to rural honey stands, proprietary blends, and killer insects in “The Sweetest Sting.” Although this perhaps isn’t an unusual plot – and the real thing is frightful enough to many – the youth elixirs come with elaborate elevator deaths and fatal farm equipment mishaps. The abusive home of two destitute children, unfortunately, is just as bad as the deceptive allure of the titular Victorian charmer in “The Playhouse.” Ominous facades and warped fun house visuals answer the desperate necessities of the tender young players, making this curse a not so cut and dry reluctance with true to life horrors, abductions, and inept investigations. Will the police believe the evil truth? How’s that big, indestructible playhouse going to fit in the Curious Goods vault anyway?
Confederate letters, battlefield hospitals, and a greasy doctor who’s really a contemporary collector stealing Civil War artifacts anchor “Eye of Death” as an evil lantern’s three hour visits to the past creates some greedy antiquing competition. Rather than black and white, this episode has a gritty wartime and old photograph patina to match the captured moment in time and the power trip it provides. Instead of being an episode any series can do, Friday the 13th shows its unique investigations and eerie artifacts with the well done history and horrors here. Likewise, “Face of Evil” returns to the killer compact of last season’s “Vanity’s Mirror,” although enough is happening with models fearing wrinkles and has been status without the flashbacks to the previous episode. The team races to stop the photo shoot disasters and on set accidents while addressing our ageism obsessions, for a few lines and second best won’t do. Of course, there’s nothing a wicked syringe can’t solve in “Better Off Dead.” Classical music irony accents the science abominations, brain fluids, and creepy transfusions for the AIDS era while a wild tumble down the staircase, shocking car accident, and freaky experiments threaten Micki and company with twisted serial killer medicine and Jack the Ripper tools. Along with winking clips from The Wolf Man, “Scarlet Cinema” provides more film within a film scares, school lectures, youth escapism, and old fashioned projector glows. The mockery of nerdy students and onscreen lycanthropy debate early film superiority and underrated horror film milestones while addressing the blatant rip offs and copycatting homages even as the episode does the same thing. Although the emo student can be annoying, and maybe Friday the 13th does rely too much on the archival footage, the vintage cameras, gray-scale touches, and retro framing techniques reveal the killer wolfy in a bemusing be careful for what you wish for turnabout. Plus that silver nitrate film comes in handy!
Swanky jazz, hot dames, risque kills, and then steamy near nudity spice up “Mesmer’s Bauble” alongside the late singer Vanity, a music montage or two, and wow look at that record store! A lucky charm making an obsessive fan’s dreams comes true isn’t all that different from today’s star worship in new mediums coughtumblrcough, but being a talented artist and selling a lot of records are not necessarily the same thing – except to the number one fan who’s not like all those other crazies. Screaming crowds knock each other over to be one step nearer, and our trinket inches toward Single White Female in her skin insanity. Buenos Aires crimes, passions, and a rare snow globe also spell trouble for “Wedding In Black.” The devil is pissed that Curious Goods is collecting his tricks, and a disembodied voice, hellish scenery, and inside or outside the snow globe twists escalate the vengeance. Although this episode has an unusual format, it might have been neat to see this evil rival trio out to undo our team more often, and it’s superb to see a cast-centric hour dealing with the consequences of their collecting complete with rapacious revenge and what you don’t see worse. The eighties modern interpretative dance and off the shoulder Fame get ups in “The Maestro” won’t be for everyone. However, the ballet scenes are lovely – if fatal as this eponymous choreographer drives his talented but imperfect subjects to risk life and limb with music from an old symphonia. Is sacrificing for great art and success worth it? This music box embellishes a ruthlessness already present, and it’s deadly demands cross the line between brilliant artistry and abusive fanaticism. Satanic effigies and parallel white magic up the ante in the “Coven of Darkness” season finale, pitting shaman energy and protection spells against Uncle Lewis’ former coven and a witch’s ladder omen. A little cut from a witch’s ring or some blood on a ritual handkerchief and our trio is arguing on who’s bewitched, whether they are safe in the store with their evil relics, or if one of them has possible magic powers. Did they expect no retribution for their good works against evil? Possessions, counter spells, candles, and great horror imagery strengthen the character focus, and I wish Friday the 13th had spent more time with its players rather than the curses of the week. Warring covens fighting to get their cursed curios back and developing psychic strengths for the battle could have been ongoing storylines. But hee, calling the object of your incantation on the telephone right in the middle of the chanting, oh how eighties!
Yet this Sophomore Season is tough to get rolling with a rocky “Doorway to Hell” premiere referring to the First Season’s finale, which was itself a bottle episode clip show with a weak frame. Ghostly reflections, broken mirrors, cobwebs, and dark realms fall prey to stereotypical gas station crimes and nonsensical goons. Likewise, the Caribbean clichés, unacceptable racial misunderstandings, exotical fetishism, and snobby white boys playing at real magic in “The Voodoo Mambo” gets lol wut with a montage explaining voodoo like its something rare and mysterious. The what would you do with an extra hour premise of “13 O’Clock” is very cool with a fine technical execution mixing color, black and white, stills, and film movement for its freeze frame pauses in time. Unfortunately, the seedy music, back alley bludgeons, and standard daddy’s princess gold digger with a side piece planning murder compromise the freaky pocket watch with eighties obnoxiousness. I mean, gangs having dance offs on the subway platform? Such filler makes Friday the 13th feel like it should have been a half hour show with only the good horrors necessary. Traditional in store antique sales and Uncle Lewis connections are lost among the laughably bad acting, chicken races, hot rods, and cursed car keys in “Night Hunger,” and the killer zapping qualities of a 1919 World Series ring in “The Mephisto Ring” are just goofy. A bum villain and anonymous heavies beating up old ladies over bad betting tips can’t carry the double duty sports and crimes, and too much is happening between the odd A/B plots in “A Friend to the End.” Is this about the bittersweet sepia and undead child tales or the edgy pain as art with a sculptor turning models to stone? These aren’t the worst stories – though the middle school bike tricks are silly and the evil lesbian subtext typical – but the curses here are stylistically too different and each deserved its own hour. There’s merit in the bickering surgeons and alternative Native American medicines with “The Shaman’s Apprentice” and an Indian grandson caught between his calling as a native healer and his job as a white man’s doctor. However, the outsider belittled for his ideas is a repetitive story with redskin insults, warpath jokes, and dated racism on top of another misfire object and ethnic spins made evil.
The crimped hair, victory rolls, and retro fads also don’t do Louise Robey justice, and former gymnast Micki puts on some giant glasses to go undercover as a journalist when not skimming the fashion magazines for new looks. She repairs and redecorates the store, doing the research and leaving the boys to the big action, but Micki says Curious Goods has no charm. She still hopes to get on with her life, be happy, and not battle evil forever. Her visiting BFFs often pay a terrible price, and each loss is tougher on Micki than the next. Her nephew is also ditched at the store by her divorcing sister, and the family interference in the curio collecting could have been dealt with more. Micki’s jealous and sometimes suspicious of Ryan’s dalliances, but her saucy times are filmed in much more romantic detail. Unfortunately, she is attacked by a creepy mental patient, leaving Micki throwing up and quite shaken before more terrible close calls late in the season. I don’t like that Friday the 13th went there – the fantastics are enough without real world violence. However, these experiences give Micki more doubts about if what they do and the risks they take are worth it, and she even argues the morality of letting an evil doctor die so her friend can live in a slightly uncharacteristic but consequential request. The eighties white shirts with big belts and skin tight pants early in the year also switch to loose fitting darker fashions, big overcoats, and objects in front that seem like television hiding pregnancy tricks. It’s a noticeable one-hundred and eighty degree change, yet it’s nice to see Micki become more than just being there to look sexy with psychic opportunities and white magic potential in the season finale.
Everyone always presumes John D. Le May’s Ryan Dallion is Micki’s boyfriend, and although he apparently carries her picture in his wallet, he’s always ready to party or romance the lady of an episode. He’s bored at the symphony and afraid he’ll fall asleep – until he spots a babe at second violin, that is. Ryan gets over one girl and moves onto the next one in a few episodes as required but can move even quicker, sometimes putting on the ritz in the same show! Thankfully, he does get into vinyl, putting on some records for his music education, and he dresses up eighties fancy, too – with a then rad ear piercing. Though prominent in the weak cool cars hour, it does feel like Ryan is here much this season. However, he doesn’t suddenly become a Civil War expert when he’s caught in the past. Some future knowledge would have helped him for sure, yet he can’t remember anything but the burning of Atlanta. He’s strangely reluctant to believe in werewolves even after all they’ve seen, but he can still be reckless – like climbing the fence of a high security institution and getting electrocuted. He says he remains so loose and celebratory after facing such evils because they got through it, but Ryan is seriously effected when loved ones are presumed dead. He blames Jack and increasingly contests what they do and why. The characters here don’t stand pat, as Friday the 13th plays with their fates early and often. Ryan says Curious Goods puts him through enough pain and he’s had enough of these cursed antiques and the deaths they cause.
The late Chris Wiggins’ Jack Marshak saves the day to start Year Two but is referred to with a postcard by the third episode, and his absence is apparent in several weaker shows mid season. Jack’s reputation as an occult expert precedes him, but the heavy mantle of their righteous collecting often puts him and his friends in mortal danger. Despite the risks, he puts on a brave face, often rescuing our cousins – who are somewhat aimless without him – or sends them to cover while he handles the beastlies alone. Jack dictates the course of action and delineates the team, however, he can be wrong about the object they seek and what it does. Fortunately, his old magician ties and show biz connections are more fun, and the trio has a lighthearted, teasing banter – sick in bed Jack is stuck with the paperwork but he rings a bell so Micki will wait on him but his awkward stuffiness drags down his boys night out on the town with Ryan. It would have been neat to see more of their in store dynamics, and why does Jack get the crappy cold room downstairs next to the vault? Occasionally his absence isn’t even addressed, but brief mentions of him off collecting Nazi materials remains interesting. I would have loved to see these occult aspects or secret societies and paranormal investigation plans as Friday the 13th allegedly intended to include, and “The Butcher” provides such German quotes, period accents, Norse mysticism, frozen Nazi escapes, and resurrection amulets. Torturous dreams delve into Jack’s World War II past as he’s reluctant to investigate the strangulation revenge, Neo Nazi thoughts, and extremist talk show hosts turned politicians unfortunately eerily relevant today. It’s a frightful mix of real world horrors and fantastics explaining why Jack does what he does at Curious Goods and there should have been more episodes like this.
Unfortunately, Steve Monarque’s (Under the Boardwalk) appearances as Johnny Ventura in two episodes this season don’t bode well for his regular status to come in Season Three. It’s odd to place “Wedding Bell Blues” back to back with a similar title, as the episodes are drastically different and the empowered pool cue, smoky billiard halls, and big haired bridezilla spend too much time away from team. The cliché hustling and filler, almost a spin off tone are apparent and so is Johnny’s street wise attitude. He says he’s not some dumb kid and wants to immediately know all the curse details – but he looks eighties old and figures out the secrets by breaking doors down, asking questions later, and missing the body in the freezer. The brief mention of Ryan and Jack on the hunt for evil snow shoes sounds more interesting than this laughably bad debut, for the best thing about this episode was my husband and I debating whether a mere pool cue stab through the torso could actually be so quickly fatal or if a good jam through the eye into the brain would have been better. Of all the ways for Friday the 13th to bring on a new character, the basic cool guy is the lamest way to go, and the robberies, shootouts, and penitentiaries gets worse in “The Prisoner.” Inmates trading a bloody invisibility bomber jacket, oh my! Johnny’s nondescript in the joint solving a phantom murder over double crossed loot, everybody talks like James Cagney, and I don’t care about a ridiculous crime of the week with a curse afterthought. R.G. Armstrong’s lone appearance as the late Uncle Lewis is better trouble in the uneven premiere, and Elias Zarou’s Rashid should have become a regular, creating a second mature duo with Jack to investigate more Old World occult. Likewise, Joe Seneca (Silverado) deserved more as a recurring voodoo expert. Certainly the budget was low, but more Curious Goods staff would have made recovering artifacts faster and built in more adventures to keep Friday the 13th going with the forthcoming cast changes.
Understandably, the Friday the 13th: The Series – The Complete TV Series DVDs are not perfect remasters with an often dark print and uneven, low volume. The then-rad cars, bedazzled leather jackets with sleeves rolled up, and big sunglasses at night are still eighties steeped alongside tight white leggings, off the shoulder shirts but giant shoulder pads, and high-waisted acid wash jeans. But wow those poofy huge wedding dresses and patterned ties on top of super shiny dress shirts and striped sports jackets – woof! When not faced with crimped side ponytails and convertibles driven by yuppies with yellow sweaters tied over their shoulders, the forties-esque glam and Stray Cats mini fifties revival create a neo noir mix with moody red lighting, blue neon, flashlights, and spooky fog. Basic green screen effects, old school shadow schemes, and the somewhat unfinished looking visuals remain eerily effective while the gray-scale moss, webs, and vines hit home the swampy underworld design. Sepia tints, snap shot still frames, and old style filming techniques add to the retro reels, classic clips, and pop music photo shoots – and folks had to go to a camera shop to rent a giant camera! Piles of papers, dusty old books, undeveloped film rolls, newspapers, mini cassettes, and tape recorders did research pre-internet the hard way, but record players, horseshoe phones, hefty televisions, and big answering machines invoke a bemusing nostalgia. Listening to the radio for news! Pharmacies that deliver? That car phone is just a receiver with a cord?! Look at that old five dollar bill as evidence one is from the future! Although some houses and locations are clearly revisited and the Fred Kreuger pizza face gore is good but common, the slightly cheap and fun styling embraces its low budget horror roots. That racy lingerie on the prostitutes, however, is actually a lot of clothing compared to today’s uber skimpy!
Friday the 13th’s Second Year is slow to start with more of the same cool cursed objects of the week repetitiveness thanks to a lot of episodes and a few letdowns. Despite its syndication success, the series missteps slightly by not going far enough with character developments or the full potential of its evil love, greedy wealth, and eternal youth opportunities. Fortunately, Friday the 13th‘s mix of horror, humor, nostalgia, and dark morality plays remains impressively ghoulish for old school audiences and scary anthology fans.
Recently we had the extreme pleasure to interview indie filmmaker Nick Hunt. Nick Hunt is the writer and director for Safe Place which is going into production in February. If you ever wanted to have a little insight into what goes into getting an indie movie made then check out this interview:
What is Safe Place about?
SAFE PLACE it is about this terrible tragedy that happens to this family man Chris Craven, where he loses his grip on reality and is forced into this life of fear and seclusion, he crosses paths with Lori and her 5 friends and when they find themselves in distress he wants to save them from themselves and the world outside, and will do it by any means necessary, even if it means taking them out of the world, one by one.
Where did the idea for Safe Place come from?
SAFE PLACE comes from a few different inspirations. The title was an inspiration from the actual government signs which basically are in front of buildings that can be a sanctuary of sorts during dangerous situations. The idea I gathered from that was well…what is the place that was supposed to be your escape from danger wasn’t safe at all, and was actually equally or even MORE dangerous. The rest is really a work of inspiration from the world outside. We all are individuals and we all have singular opinions which are what makes us human. The world isn’t a great place by any stretch, and some people have in other’s eyes warped views about the world, and exaggerated views. To some those aren’t exaggerated views, to some its reality. The violence, the turmoil outside isn’t something we as a society or as individuals can escape; we simply have to fight to make it out alive. The last part of inspiration really came from the fans. What do the fans want to see? I tried as hard as I could to still sit in that audience’s perspective’s chair and live as an audience member throughout all of this. We are evolving, we are changing, and what we want to see on the screen is changing. We want the emotional experience brought back to horror. Gone are the days you’ll see the clichés running rampant that you’re used to. SAFE PLACE strives to break barriers in a lot of different areas down to the way it’s written, the way it’s portrayed, the characters, the violence, the story, the effects, everything!!!
How long did it take to write the script?
The original script was written over 10 years ago and if I remember didn’t take that long, the rewrites an revisions of the screenplay since have been the longest and most arduous of the tasks making sure to get all of the emotional experiences, the tension and those characters right and realistic and true to my vision.
How did you get the money together to produce the movie?
Some of the money came from private sources and private investors, and we are still trying to procure the final remainder of the funding for things like marketing, film festivals, etc. The good thing is we save a lot of money by the fact we have 99% of our equipment and that’s a big expenditure we don’t have to really worry about which is a huge relief.
How did you get the cast together for the movie?
For this film I really sought out feedback from other filmmaking friends and looked for presence and positivity, people who popped, there was no auditioning; these people were mostly brought on sight unseen. I did that because I had a feeling about the group and I thought they personified who I was looking for, especially when my niche is giving opportunities and breaking barriers in horror for having strong female characters, strong LGBTQ characters, strong minority characters, and even giving talents that are disabled the ability to showcase, in a genre that’s usually pretty cut and dry. We have a cameo appearance shooting next month in December with Lloyd Kaufman who is of course is a legend in the business whom I simply reached out to through Facebook and wanted to be a part of SAFE PLACE almost immediately after hearing about it! My main actress is Ashley Mary Nunes (ALL THROUGH THE HOUSE, upcoming DEATH WARD 13) who is just kick ass and amazing, destined to be the next big scream queen; We have character actor Dominick Santarsiero portraying Chris Craven our antagonist, and the rest of the cast is led by a group of young and up and coming talent the likes of Yvelisse Cedrez, Katy Votapka, Timothy Noble, John Gettier, Nathaniel Matos, Nick Graffeo & more!
Where will the movie be made?
The movie will be shot in and around the Orlando and surrounding central Florida areas this February in a mere few months!
What did you do before you were a filmmaker?
Most of my career has been spent in customer service, hospitality and restaurant. I have worked as everything but a bartender, and am a great food service manager, and love to cook as a general hobby.
What are your favorite horror movies?
I love the original Fright Night, the F13 franchise, the Halloween franchise, the Child’s Play films, classic Lucio Fulci and Dario Argento, all the Universal Monster Movies, I love foreign horror like Cold Prey, Frontier(s), Martyrs, Calvaire, Inside. At the end of the day though, anything and everything. Way too many to list!
What inspires you?
Hunger. The underdog. I love seeing that hunger that someone personifies come up and fuel them. I have had a lot of hard times in my life. Seeing someone make their way through the fire and flames so to speak inspires me more than anything else. Courage is a big character trait in my book. That’s why it is so important to me that SAFE PLACE really brings into light strong female characters, strong LGBTQ characters, and strong minority characters. This is a new day and age and the film world needs to keep up. The horror world more than ever!
What is the hardest part about getting your movie made?
The no money part is a huge thing, asking people for money, offering incentives, the business side, never thought it was something I’m good at, but I’m finding I am. The rejection sometimes. We originally had a lot of issues with a realtor with the original main location for the house, some casting issues, people I had hoped for not being able to commit. Besides that some days I sacrificed eating to boost a post on Facebook, or did something equally. It’s hard out there when all you have is your passion, now I’m starting to see it’s not just MY passion, but others that are fueling this project as well.
When will people be able to see the finished product?
The tentative release date is October 27, 2017 the final Friday before Halloween next year!
Where can people find out more about the movie?
Horror Addicts Episode# 129
Horror Hostess: Emerian Rich
Intro Music by: Valentine Wolfe
jh moncrieff | friday the 13th series season 1 | vampire tv songs
Find all articles and interviews at: http://www.horroraddicts.net
Horror Addicts Episode# 129
Horror Hostess: Emerian Rich
Intro Music by: Valentine Wolfe
jh moncrieff | friday the 13th series season 1 | vampire tv songs
Find all articles and interviews at: http://www.horroraddicts.net
113 days till halloween
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Friday the 13th The Series Gets off to a Memorable Start
by Kristin Battestella
No, this 1987 television series has nothing to do with Jason Voorhees and the Friday the 13th film franchise. This Friday the 13th is an American/Canadian co-production that debuts with twenty-six episodes of curses, scares, creepy, and campy charm.
Distant cousins Micki Foster (singer Louise Robey) and Ryan Dallion (John D. LeMay) are bequeathed a mysterious antique store from their suspicious and relatively unknown late Uncle Lewis Vendredi (R. G. Armstrong). Unfortunately, this eclectic inventory isn’t for sale, as the store’s contents are comprised of cursed items from Uncle Lewis’ deal with the devil. All previously sold and demonically indestructible merchandise – ranging from as small as a compact mirror to as big as an electric chair – must be reacquired and returned to the special vault beneath the Curious Goods store. With the help of occult researcher Jack Marshak (Chris Wiggins), Micki and Ryan must now pursue former customers who aren’t always so willing to part with their antique’s particular evil enchantment.
Yes, some of the antique retrieval plots are silly and dated, but Friday the 13th has many memorable episodes beginning with “The Inheritance” and its devilish retribution complete with flaming hoof prints on the stairs. The series premise is introduced alongside a killer doll, a little girl in peril, and playground dangers with creepy lullabies, thunderstorms, and howling winds. It’s easy to get behind our trio in their evil object of the week quest, for the ravens, monastery, suspicious brotherhood, and quill that writes the deaths to come of “The Poison Pen” add an eerie medieval mood with hoods, candles, chanting, spiders, and guillotines. Despite some rad eighties moments, “A Cup of Time” has skeletons, murder, and deadly sips from an ordinary looking mug. Maybe old ladies fighting over teatime with a punk score is hokey, but the fountain of youth desperation remains wicked. Normally, it would be good business to have some fun dress up and magic tricks for “Hellowe’en,” however a crystal ball, good scares, and ominous smoke and mirrors assure this party at Curious Goods wasn’t the best idea – especially when your guests fiddle with the merchandise. This spooky atmosphere, demonic rituals, and a race against the sunrise sets the tone for Friday the 13th perfectly while the autopsies, hospitals, morgue drawers, and elevator injuries accent the Jack the Ripper scalpel in “Doctor Jack.” What if an operation with an accursed objected wielded by a skilled surgeon with a superiority complex was your only chance at survival? The titular effects, camera works, and enchanted gloves of “Shadow Boxer” are no less preposterous yet Friday the 13th is again memorable with a green locker room patina, old school gym feelings, and a down on his luck sports fall from grace. There’s humor, suspense, justice being taken into one’s own hands, and they have to wait for the pictures to develop overnight. The horror!
The crazy, rich old ladies and killer yardwork of “Root of All Evil” are slow at times, but we do get to know our characters’ relationships and responsibilities better amid this intense, man-sized mulcher action. It’s good to get away from the shop for the harvest struggles and rural farms of “Scarecrow,” too. Scythes and heads on the front porch create an off-kilter slasher tone before the David Cronenberg (Videodrome) directed “Faith Healer” and its rousing, fire and brimstone con man claims – and an ominous medieval white glove that does the trick. Is such power for good or ill when for every life it heals, it must take another? White, clean, pure suits quickly become sullied with back alleys, leprosy sores, and pestilence consequences as this glove literally burns itself onto the hand where its deeds and demands cannot be escaped. These impressive morality and faith debates give way to perhaps my most memorable Friday the 13th episode, “The Baron’s Bride.” A time traveling vampire fantasy may see like a big leap of faith – especially once the colorful gothic décor and capes switch to black and white carriages and angry mobs. However, the Stoker myths and traditional vampire lore hold up alongside fast action and a whiff of romance. Sunken treasures, stormy nights, and scary phone calls in “Bedazzled” make being alone at night at Curious Goods as spooky as you’d expect. This bottle show takes place almost entirely in the store with good old fashioned scares and invading crooks who don’t stop once their cursed antique has been locked away in the vault. “Vanity’s Mirror” is another memorable Friday the 13th hour thanks to beauty obsessions and an innocuous little compact causing too much torment. Cruel teasing and ugly duckling relatable forgive any hello eighties high school motifs – in fact, the pitiful prom designs add to the creative deaths, quality gore, and alluring retribution.
I’m sorry doesn’t cut it when you execute wrong man in “The Electrocutioner,” but grainy jailhouse footage sets the mood for this electronically charged dentist who’s out for some shocking revenge. Unsympathetic kills and nitric oxide play into our medical fears with this wrongful sense of justice as do the trepanning techniques, draining spinal fluids, and simple but desperate patients in “Brain Drain.” Cool mad laboratory equipment and brains in tanks anchor the intelligence transfers, trephanator talk, and intangible, Flowers for Algernon sciences. Friday the 13th goes all out for the mid-season two-parter “The Quilt of Hathor (Part 1)” and “The Quilt of Hathor (Part 2): The Awakening” for a trip to a good old fashioned thee and thou religious community hiding the titular evil homespun and its sinful dreams brimming with red décor, forbidden fruits, and baroque frocks. Horse drawn carriages, snow, and culture clash suspicions accent the forbidden romance and religious fervor. Who knew being so penitent didn’t mean you couldn’t be any less nasty? Okay, the old speaketh arguing may make some chuckle, but the witchcraft finger pointing, fiery mobs, and comeuppance twists match the horror where we least suspect it superb. Likewise, flashbulbs, dark rooms, and a Geraldo-esque newscaster with best alibi ever develop “Double Exposure” alongside gory bubbling, doppelgangers, and machete killings. It’s interesting to see this early commentary on scandalous crimes boosting nightly ratings when we have instant breaking news alerts everywhere today. Maybe this episode felt the need to go all out with crazy dreams, evil television motifs, and slasher slick after the slightly slower two-parter before it and Ryan having two loves of his life two episodes in a row is poor placement. However, the ticking clock twists here are memorable fun before the pregnancy fears and medical defects make for a warped sense of necessity in “What a Mother Wouldn’t Do.” No one wants to harm a baby, but an evil cradle can fix all that! The parental defense, Titanic history, and watery deaths give this Friday the 13th debut year a penultimate topper.
The middle of this season is very strong, however, with such a high episode number, Friday the 13th was bound to have a few clunkers. Ugly statues, honky tonk stalkers, seedy motels, and unlikable, obsessive frat boys ruin “Cupid’s Quiver,” and the lack of authorities illumes one of the series’ ongoing impossibilities. Early on, our trio aren’t very smooth investigators and think they have the right to break in all over a college campus because they’re antique dealers! Magician secrets, beautiful assistants, fatal theatrics, and the cutthroat of magic show business don’t save “The Great Montarro.” It’s a pity since this is one of the few Jack centric episodes, but the sideshow tricks and Houdini wannabe divas are more laughable than ominous. “Tales of the Undead” has comic book shop nostalgia and an evil edition that kills you within its pages – a fantastic possibility ruined by a trash can looking monster costume. The ‘Take on Me’ music video from A-ha did it better! Though the poisonous insects and creepy crawlies will disturb some audiences,“Tattoo” is a cliché Chinatown crime plot with seemingly deliberate bad Kung Fu lip reading, submissive Asian prostitutes, and every other old Oriental stereotype crammed into one episode. Maybe the horror aspects aren’t all bad, but these mediocre episodes are a letdown when following immediately after such memorable Friday the 13th hours. “The Pirate’s Promise” offers lighthouse quaint, eerie foghorns, and phantom boats that take modern babes in exchange for gold bullion. Unfortunately, the mutinous history can’t help our cousins not bungle it up without Jack, and the Miami Vice wannabes, counterfeit money, and macho talk in “Badge of Honor” is likewise D.O.A.. The up close camera shots, day glo lighting, and jazzy score try for a jaded, gritty noir piece, but even with steamy Micki times, this one is embarrassingly dated and out of place. The Egyptian relics, trapped in the vault peril, and evil green effects make for a great framework for “Bottle of Dreams,” but sadly, this final episode of the season is largely a clip show that should have been the second to last airing instead. Sure, it’s an overlong season, however we aren’t going to forget all the good times that soon!
Billed as just Robey on Friday the 13th, our Micki is certainly beautiful – but my goodness that is big red hair! Some obvious extensions and then-vogue Jem styles make Micki always seem MTV ready, but her frilly tank tops, skirts, and uppity shoulder pads often make her appear more tiny compared to the baddies or disproportionate with her giant bobblehead hair. Initially doubtful, squeamish, and needing to be rescued, Micki’s bad feelings about their situation increase over the course of the season. She accepts responsibility and wants to do the right thing – Micki isn’t willing to leave anyone in danger and chooses this antiques recovery quest over her potential wedding. At times, she does regret giving up her old life for this so-called job but also gets pretentious in her righteousness. She’s an antique dealer in a battle of good versus evil and that gives her a license to go anywhere and intrude on anyone – even going undercover as a boy! Micki gets in on the action more and comes to handle herself alone just fine – except when our intrepid team doesn’t succeed or when the plot doesn’t make a whole lot of sense. Both cousins still have parents, so why did they inherit the shop? Why do they all live at Curious Goods? Micki has some romance and visiting Friday the 13th old flames, however it’s always played as too eighties steamy – and we’re expected to believe she brings guys home when Ryan sleeps on the other side of a glass door? Micki’s not herself in “The Baron’s Bride,” but it’s fun to see her personality changes and vamped persona because we already like and respect her moxie.
Ironically, watching Friday the 13th back in the day, I always thought John D. LeMay’s (also of the unrelated Jason Goes to Hell: The Final Friday) Ryan Dallion had a crush on Micki, and the dialogue always makes sure to reiterate how through marriage or distantly related they are. They do have fun chemistry even when Ryan is a jerky Andrew McCarthy knock off to start. He thinks Curious Goods is cool and gets his information on the supernatural from his comic books. Ryan is self aware, however, and adds humor and realistic logic on how their simplest answer must be the correct one – which helps ground the audience when he enjoys playing the hero detective in a yuppie suit. Some of the eighties brat pack cool is kind of meh today, but Ryan fits right in undercover at high school! There are consequences to their collection, of course, and he is injured a few times, adding a sense of realism and not reset fantasy even though Friday the 13th has an evil of the week design. “Double Exposure” gives Ryan too many lady loves in a row, but his romance in “The Quilt of Hathor” makes the character grow up a little alongside the eerie colored smoke and his side of the family’s dangerous business prospects in “Pipe Dream.” Though this plot is a little thin, the personal ties keep viewers interested. Will Ryan treat the cursed object and its consequences any different now that Uncle Lewis wasn’t the only family member in on the devilish bargains? Ryan openly discusses the series premise, the evil behaviors, and moral turnarounds he’s seen. By the end of this debut season, it isn’t so cool, and Ryan develops a cynical edge with more than a few regrets.
Already experienced in the occult and its negative allure, Chris Wiggins (Babar) as Jack Marshak is a wonderful mentor for our young cousins – an Obi-wan Kenobi who acquired the antiques that Uncle Lewis cursed and re-released to the public who greatly regrets his unwitting part. Ever resourceful, Jack uses newspapers and tabloids to find curious stories that may lead to their quarry. At times, he only appears briefly in bemusing ways to help, but his quirky street connections add depth to the quest. Jack has a lot of exposition to quickly deliver early on Friday the 13th, but his knowledge of their evil manifest and gruff authority grounds the fantastic. Unfortunately, Jack doesn’t appear in all the episodes, and the one-liners about him being off elsewhere on a retrieval mission are convenient but disappointing. Today, an older ex-occultist battling alone against evil objects around the globe sounds like a good series premise itself. The storylines with Jack present have just a bit more finesse, and he has his doubts about whether our young team is up to snuff. “Brain Drain” also offers a bittersweet rekindled romance for Jack, but he nonetheless dusts himself off and is there to save the day when things go wrong. But why does he have to sleep downstairs by the creepy vault? In antithesis to Jack, television veteran R.G. Armstrong (Pat Garret and Billy the Kid) also makes several guest appearances as Lewis Vendredi, that devil bargaining late uncle who sold his soul and spread evil all in a day’s work. Just because he’s dead doesn’t mean he won’t pop up now and again! Carrie Snodgrass (Diary of a Mad Housewife) should have stayed longer as Jack’s love interest, however genre audiences will find maybe not necessarily name players but numerous recognizable character actors adding extra charm to Friday the 13th. Ray Walston from My Favorite Martian, Catherine Disher of Forever Knight, Sarah Polley from Avonlea – I swear Philip Akin brought some of the dojo sets from Highlander: The Series with him!
Whelp. This was 1987 and 88, so the shorts, sport coat, rolled up sleeves, and slim tie together or the big earrings, big belts, high waisted jeans, and giant shoulder pads eighties meets forties caricature fashion should go without saying as bad. Fortunately, Friday the 13th does have spooky, to the point opening credits complete with a creepy waving monkey to hit home the peeking through the keyhole ominous artifacts tone. Curious Goods is a neat and comforting shop in its own evil way. We never get to fully see the entire set brightly lit with the layout completely known, which works for on set logistics whilst adding the potential for mysterious nooks and crannies where anything can happen. Dusty interiors, record players, corded phones, and cassette tapes in the answering machine add period nostalgia in addition to the past curios and clutter alongside television static, adjusting the rabbit ears, two whole channels, and a giant flash on that camera. Where else could you use the line, “Let’s go out to dinner – you, me, your camera – and see what develops.” *rimshot* Remember, on Friday the 13th they couldn’t just Google their case. Our team goes to the library to make copies! Some special effects are hammy and poor while other gore designs are seamless enough to maintain the scary, desperate atmosphere despite dim lighting and a flat picture making it tough to see everything. The sound is also uneven at times, but stormy effects and recognizable, fitting theme music with whimsical tinkles and crystal chimes accent the shadows, silhouettes, flashlights, and lanterns. There are some jump scares on Friday the 13th, but the gags are admittedly humorous, adding campy appeal to the fast moving forty-five minute episodes.
I’d like to skip over the clunkers and Friday the 13th has its fair share of dated, cheap faults in this debut season. Fortunately, most of the fond thoughts from watching the series then hold up now thanks to a not always cut and dry good versus evil. It wouldn’t be any fun if it was easy to retrieve these cursed tchotchkes all wrapped in a pretty bow. Even my mom wanted to know what channel Friday the 13th was on – which surprisingly doesn’t seem to be anywhere despite the increasing popularity of retro-themed channels and horror anthologies. DVD sets are available, however, as well as Amazon Prime streaming. Today Friday the 13th may seem like a relatively short-lived series, but this first year has more than enough memorable curses, evil, and eighties fun for paranormal audiences to revisit or enjoy anew.