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Posts Tagged ‘KNB EFX’

Jason Goes to Hell: The Final Friday

Monday, October 18th, 2021

“I don’t think so.”

In the early ’90s, FRIDAY-THE-13TH-part-I-only director Sean S. Cunningham found himself stuck again. More than a decade after intentionally not sticking around to make FRIDAY sequels (instead directing movies including THE NEW KIDS and DEEPSTAR SIX and producing HOUSE I-IV) the director-turned-honcho was moving the chess pieces around to set up his dream of a FRIDAY THE 13TH / A NIGHTMARE ON ELM STREET crossover. But New Line wasn’t ready to play yet, so in the mean time he was gonna have to keep Jason in shape.

A couple of problems: the audience seemed kind of sick of Jason. And Cunningham (who had only really worked with Jason’s mom) had never really liked him anyway. So he hired 23-year-old recent film school graduate Adam Marcus, who did like Jason, but was excited to do a drastically different chapter – easily the least FRIDAY THE 13THy of any FRIDAY THE 13TH movie. Marcus has often claimed that Cunningham asked him to get rid of the hockey mask (an allegation Cunningham denies). Whatever the truth of it, the movie manages to have mask-wearing Jason in the opening and closing, but for most of the movie he body hops between ordinary non-scary-looking people wearing ties and stuff. Instead of working like the other FRIDAY THE 13THs, it’s sort of a re-enactment of THE HIDDEN with considerably less momentum, tension, style, production value, atmosphere, characterization, story, entertainment value or creature FX. But 100% more some parts with Jason. (read the rest of this shit…)

True Identity

Monday, August 30th, 2021

August 23, 1991

As we’ve discussed earlier in this series, the summer of ’91 was pivotal for the emerging Black film movement of the era. BOYZ N THE HOOD was the seismic event, but we also had Bill Duke directing his first theatrical feature, a new one from Spike Lee, and a heavily hyped drama made by a 19-year-old director in a Brooklyn housing project with some credit cards. So it’s only fitting that one of the last movies of the summer was a studio film from the Black director of an acclaimed indie.

Charles Lane had written, directed, and starred in a 1989 film called SIDEWALK STORIES, about a homeless artist in Greenwich Village who takes care of a little girl (played by his daughter) after her father is murdered. Partly an homage to Charlie Chaplin’s THE KID, it’s silent except for the last scene. Roger Ebert loved it, it was nominated for Independent Spirit Awards for best director, first feature and male lead, and according to Wikipedia it won the audience prize at Cannes, though I haven’t been able to verify this. The point is, it was respected.

So here we are three years later and Lane is directing a major Touchstone Pictures comedy with the very mainstream premise “What if a Black guy had to pretend to be a white guy?” It stars the British comedian Lenny Henry (BERNARD AND THE GENIE) and is written by Andy Breckman, a (white) Late Night With David Letterman and SNL writer who had scripted MOVING, ARTHUR 2: ON THE ROCKS and HOT TO TROT. (read the rest of this shit…)