Friday the 13th (1980) *

 

Summer camp has a lot to recommend it as the setting for a movie, especially a horror movie. Teenagers are the most reliable customers Hollywood has, and everyone loves to watch movies about people like themselves. Populate a movie with a bunch of teen campers and counselors, and you are halfway to a hit. Plus, summer camp happens when the weather is warm, which means you get to put all those attractive, young actors and actresses in minimal clothing. Summer camp is a world without parents, isolated somewhere in the woods, which increases the level of freedom and also the level of danger. Narratively, this is perfect for the horror genre. “Friday the 13th” is probably not the first summer camp horror flick, but it's fair to say that it defined the genre, setting the die for dozens of sequels and copycats.

The story is deceptively simple. A horrible murder happened at Camp Crystal Lake back in the fifties, and the camp was shut down. Now the camp is being re-opened. Counselors arrive on a certain, unlucky Friday to get things in order for the big opening, but that night they are, one by one, slaughtered by a mysterious killer. The statute of limitations is clearly expired on spoilers for a 40-year-old film, but I'll keep mum about the identity of the killer. That twist is really the only interesting thing about the movie.

“Friday the 13th” blatantly rips off John Carpenter's "Halloween," particularly in its use of the camera to show the perspective of the killer. Where “Halloween” feels fresh and creative, “Friday the 13th” feels cynical. The whole purpose of the narrative is to systematically kill off these young people, and neither the cast nor the story offer anything to make it worth the ride. “Halloween” featured memorable performances from Jamie Lee Curtis and Donald Pleasence, and even a decent supporting cast. No one in the “Friday the 13th” cast does anything to distinguish themselves; they mostly just wait their turn to die. You may recognize a young Kevin Bacon in this film, but even he doesn't do anything interesting.

“Friday the 13th” was made to copy the style and success of “Halloween,” and it succeeded. Made for about a half million dollars, the movie grossed over $50 million, and spawned a wildly successful series of sequels. I'm sure teenagers in 1980 loved it, but I see no reason for anyone to watch it now. If you want to see a classic, campy, fun, summer camp horror movie, check out "Sleepaway Camp" instead.

1 star out of 5

I Used To Go Here (2020) ***

 

I recently re-watched “Old School,” a goofy comedy about some older guys getting back in touch with their college experience. “I Used To Go Here” is a less-goofy comedy about a woman (Gillian Jacobs) doing the same thing.

Kate (Jacobs) is having a rough time. In her mid-30s, she has broken up with her fiance. Worse, her first novel, which seemed so promising, is not selling well. We meet her as she gets the call that her publisher has canceled her book tour; they no longer consider her a good investment. The one bright spot in her week is a planned appearance at her alma mater, arranged by her creative writing mentor, Professor Kirkpatrick (Jemaine Clement). It's one last chance to promote her book and bask in the glow of being a published writer. Plus, Kate had a crush on Kirkpatrick in college, so that's in the back of her mind as well.

If Kate thought she would just slip back into college life as a more mature, successful version of herself, it doesn't work out that way. Kirkpatrick is married now, although he's not above a little flirting. The B&B booked for Kate is run by a strict, inflexible older lady (your standard B&B owner), so Kate winds up wandering over to the house she and her college friends once shared, meeting the students living there now, and getting sucked into their world for a couple days.

Kate's attraction to the adventure is understandable. Adult life is boooooooring, and in Kate's case, it is disappointing. How nice would it be to slip back into a time when you and your friends were just pure potential, when your future was so bright, you had to wear shades?

Gillian Jacobs is great casting as someone who almost looks young enough to hang out with a college crowd, but is still clearly a fish out of water. Kate's journey is ripe for comedy, and this is a funny movie, but her story also rings true. We all look forward to a future that is uncertain, and we look back on a past that seems clear in retrospect, no matter how confusing it was when we lived it. Kate simply gives in to the most common mental illness of all, nostalgia.

3 stars out of 5

The Invisible Man (2020) ****

 

In Greek mythology, the princess Cassandra was gifted with prophesy. When she rejected the god Apollo, however, he placed a curse on her, such that no one would believe her visions of the future. This is the predicament Cecilia (Elizabeth Moss) finds herself in after she escapes her abusive boyfriend, a wealthy optics scientist. No one believes her when she begins to suspect he is stalking her.

Other than the title and the idea of invisibility, this film has nothing to do with either the 1933 film or the 1897 H.G. Wells novel of the same name. Rather than focusing on the science fiction, this movie is primarily a story about escaping from an abuser. Adrian has resorted to all the usual tricks of an abusive lover, isolating Cecilia from loved ones and gas-lighting her. Cecilia, fortunately, retains enough inner strength to stand up for herself.

Elizabeth Moss delivers all of this with an absolutely gripping performance. This is an actress who is not afraid to “go there.” She appears in every scene, and she carries the film admirably. Credit must also go to Australian writer/director Leigh Whannell. Whannell is known for writing the “Saw” and “Insidious” movies, and he now appears poised to make a name for himself as a director. With patient story-telling and clever camera work, he has crafted as tightly-wound a thriller as I've seen since “Gone Girl.” You've got to see it!

4 stars out of 5

Soul (2020) ****1/2

 

The latest film from Pixar tackles the big questions: “Why are we the way we are?” “What is the point of life?” “What happens when we die?” This is ambitious stuff for an animated film, but trust me, you are in good hands with Pete Docter, the writer and director of classics like “Monsters, Inc.,” “Up,” and “Inside Out.” The guy is no stranger to deftly handling deeply emotional and philosophical material.

Jamie Foxx provides the voice of Joe, a jazz musician who gets his big break, then promptly has a potentially fatal accident. While his body is in a coma, Joe's soul starts its journey to the Great Beyond, then takes a side trip to the Great Before, which is where new souls are prepared for life on earth. While working desperately to return to his body, Joe meets 22 (Tina Fey), a grumpy, cynical, unborn soul who simply isn't interested in trying life.

“Soul” is a delight on many levels. The animation is outstanding. It's chock full of great music. (The jazz segments are by Jon Batiste, while the otherworldly parts of the film are scored by Nine Inch Nails.) Foxx and Fey provide excellent voice acting and comedic timing. Finally, much like the show “The Good Place,” “Soul manages to mix comedy with a serious exploration of the big philosophical questions.

Most animated movies are safe to watch with your kids. With ones that push the envelope a little, you might find yourself answering questions about where babies come from or something. No big deal. If you watch “Soul” with your kids, you may find yourself answering questions about where we come from, where we go when we die, and what is the point of living life in the meantime. Good luck with that!

4.5 stars out of 5

The Fog (1980) ***

 

With “Halloween,” John Carpenter established the slasher film as the dominant form of horror for the next decade, inspiring dozens of similar movies about teenagers being systematically slaughtered. Like “Halloween,” these movies follow what became one of the rules of horror films, which is that you get killed if you drink, use drugs, or, especially, have sex. Two years later, though, Carpenter released his next feature film, which wasn't about killing teenagers and didn't follow any of those rules. While others were busy copying “Halloween,” Carpenter was busy moving on to something different.

“The Fog” tells the story of Antonio Bay, a coastal town built on the fortune of a benefactor named Blake, whose ship foundered in a fog and sank in the bay before he could see the town built. Legend has it that Blake and crew will rise from the depths one day to avenge their deaths. As Antonio Bay prepares to celebrate its centennial, a strange fog rolls in from the sea, and you can probably guess what unsavory visitors it brings with it.

The best part of the movie is probably its cast. Carpenter managed to fill Antonio Bay with good-looking women, including Jamie Lee Curtis and Nancy Loomis (both from “Halloween”), Janet Leigh (famous for “Psycho”, and Jamie Lee Curtis's mom), and Adrienne Barbeau (who was Carpenter's wife at the time). Hal Holbrook stars as an alcoholic priest, and the character actor Tom Atkins plays the male lead.

“The Fog” is not one of Carpenter's best, but it's still a pretty decent movie, considered a minor, horror classic in some circles. Despite a budget of only $1.1 million, the movie has a professional look and feel. The story honestly does not make a lot of sense, but Carpenter makes excellent use of the camera and his excellent cast, imbuing the film with more humor and humanity than you have a right to expect from a low-budget, horror flick.

3 stars out of 5

Halloween (1978) **** and A Nightmare on Elm Street (1984) **

 

I recently watched these 2 seminal horror films, and the contrast between them is remarkable. John Carpenter's “Halloween” has aged quite well, still providing a gut-twisting sense of dread that builds up to sheer horror. Wes Craven's “A Nightmare on Elm Street,” on the other hand, is not nearly as good as I remembered it. 

 

“Halloween” is a pretty straightforward story, without definite supernatural elements. A young boy named Michael Myers murders his sister in the 1960s. Fifteen years later, he escapes from the mental institution and returns to his hometown, where he terrorizes a group of teenagers. The movie works, in part, because it keeps things simple. You mix a homicidal maniac with some attractive teenagers, et voila! It has been the essential recipe for slasher films ever since. For better or for worse, the movie established many of the standard conventions of horror: 1) The killing of anyone who has sex, drinks, or uses drugs. 2) The Final Girl. 3) The killer who seems impossible to kill. That first point, that you die if you have sex, has become such a standard of horror films that it is a running joke, spoofed in movies like “Scream” and “The Cabin in the Woods.” This recurring theme probably says something messed up about our attitudes towards sex, but Carpenter denies that he had any moralistic intentions in writing “Halloween.”

Carpenter made “Halloween” with around $300k, which was ridiculously cheap even in 1978. He used his creative prowess to save money everywhere he could, including composing the score himself. For writing, directing, and scoring the film, Carpenter took a salary of only $10k. This bargain helped secure him creative control with final cut. On the back end, he negotiated himself a bonus of 10% of the profits, which worked out pretty well, as the movie has earned roughly $70 million, placing “Halloween” among the most profitable films ever, based on return on investment.

I think that the director having complete creative control is a big part of why “Halloween” is so great. This is not a horse built by committee. The movie also has a pretty decent cast, despite the low budget. The most notable, of course, is Jamie Lee Curtis, appearing here in her first movie role. She was a relative unknown then, but, as the daughter of Janet Leigh (Psycho), she brought some horror-film cred to the project. Curtis is really quite good in the role. She delivers a lot more personality than is typical for a character whose main job, historically, is to scream. Her female co-stars also deserve some credit. Nancy Kyes (credited as Nancy Loomis) and P.J. Soles lend some cuteness and comic relief to an otherwise intense movie. Because of its creative and financial success, “Halloween” became the template for many, many slasher films that followed.

One of those films is 1984's “A Nightmare on Elm Street.” Written and directed by Wes Craven, the film tells the story of a group of teenagers whose dreams are haunted by a sadistic killer named Freddy Krueger. In dreams, Krueger stalks the teens wearing a glove with knives on the fingertips, and when he kills you in a dream, you die for real! 

 

 

It's a creative concept. With a director of Craven's caliber (He was known for “The Last House on the Left” and “The Hills Have Eyes,” and he went on to create the “Scream” movies.), this should be one of the great horror films. Many critics think it is, but re-watching it now, I was very unimpressed. The film does have its good points, including capturing the twisted logic and geography of dreams, where buildings have rooms and floors that don't exist in real life, and one place seems to transition into another. Craven manages to create a tremendous amount of dread. The characters are safe as long as they stay awake, but after days of sleep deprivation, normal mental processes start to break down. Sleep, and danger, are just seconds away! The movie is diminished, though, by bad acting, dated 80's styles, and lame, soft-focus camera filters. The movie's biggest flaw, however, is its ending. I have an issue with the old, “It was all a dream!” scam that some writers pull on the audience, and Craven uses it here to undermine the entire story. For me to enjoy a movie, there has to be some level on which things that happen in the film matter. A nihilistic ending like the one here just makes me feel like I wasted my time. Nonetheless, the movie was wildly successful, sparking a slew of sequels, including a 2010 remake starring Jackie Earle Haley. Most critics felt the remake was terrible, but the original is widely respected and viewed as a horror classic. I guess I'll have to be in the minority on this one.

Halloween - 4 stars out of 5

A Nightmare on Elm Street - 2 stars out of 5

The Outpost (2020) ****

 

Mark Twain is usually credited with the line, “History doesn't repeat itself, but it often rhymes.” Whether Twain said it or not, it's an apt observation. Humanity seems truly resistant to learning lessons from the past. Nowhere is this more apparent than in America's ongoing adventure in Afghanistan, now the longest war in our country's history. Within just a few short years, we are looking at the very real possibility of babies born during the war getting the opportunity to serve in the same war. That's a grim national achievement if I've ever seen one. We've been at this war long enough now that we are ignoring the lessons of our own experience there, let alone the experiences of the Russians and the British before us.

“The Outpost” is the story of one of those experiences, the 2009 Battle of Kamdesh, one of the bloodiest American engagements of the war. I won't give away much more about it, except that the military unit involved became the most decorated of the war (so far). If you are at all up for a violent war movie, then this is must-watch material. The acting is good, with a cast including Scott Eastwood (Clint's son) and Orlando Bloom. The fight scenes are fast-paced and realistic. “The Outpost” depicts real soldiers acting like real people; this movie doesn't manufacture drama.

If I have one criticism, it's that the story is told entirely from the point of view of the American soldiers. We don't get any insight into the motivations of the Taliban fighters or the Afghan villagers, some of whom are one and the same. Truth be told, the Afghans in “The Outpost”come off looking like a bunch of sneaky, lying savages. The Taliban fighters are obviously brave enough, but the Afghan military forces at the base look like cowards. In fairness to the movie, this story is MEANT to be told from a particular point of view. In a way, that's an essential element of this war, the inability of each side to understand the other. Clearly, the Afghans are complex human beings with honor and family and motivations of their own, but the language and culture gap between them and the American soldiers is too wide to bridge. I think that must be one of the worst things about this kind of war, being stationed among people who seem incomprehensible, and being hated by “friend” and foe alike.

If you only watch one movie about the war in Afghanistan, this should be it. “The Outpost” is a gripping war story and a fitting tribute to the men who fought.

4 stars out of 5