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“Incredible” is apparently relative

By Hope Madden

The Incredible Burt Wonderstone squanders an interesting premise and a talented cast on an atonal, uninspired comedy. It’s the kind of film that generates a few grins with its general pleasantness, but never offers the kind of laugh out loud moments that let you overlook its larger flaws.

The ever-likeable Steve Carell plays Burt Wonderstone, the bewigged and bejeweled Vegas magician whose lost his love of magic just in time for his public to move on to the next big thing – Jim Carrey’s extreme magician Steve Grey (think David Blaine with self-mutilation tendencies).

It’s not a bad idea, but it is badly executed. Wonderstone can’t decide if it’s a spoof or a family film. In the end, it succeeds at neither aim.

Rather than mining for pop culture laughs, as its screenplay attempts to do in spurts, director Don Scardino wallows in sentiment. Will Burt recover his childlike wonder? Learn to appreciate what he has right in front of him? Wow back a crowd? These probing questions and others are emphasized at every turn with an overbearing score, in case you might miss the emotionally moving moments.

Part of the reason Scardino’s schmaltzy approach doesn’t work is that it’s at odds with the script itself. Gags about making foggy old ladies cry, bringing magic (rather than food) to starving children, and performing wildly inappropriate “tricks” at a birthday party – not to mention a nutty, drug-fueled finale – should have felt edgier, but they are so softened by Scardino’s family-friendly vibe that they barely leave an impression.

The cast gets credit for heroic efforts, though. Supporting players James Gandolfini, Alan Arkin, Steve Buscemi and Olivia Wilde make honest efforts to create interesting, memorable characters.

But if Carell’s egomaniac feels a little forced (it sure does!), then his change of heart feels a lot forced. Carell’s comic timing and sense of the absurd often carry him through lifeless scenes, but it’s not enough to overcome the lazily written dialogue no matter how much velvet and glitter he throws at it.

Carrey’s fun as the star of the internet program Brain Rapist (another funny bit that feels out of place), but he’s far too old to play an up-and-coming street performer. Rather than youthful competition, he looks like Carell’s white trash uncle.

Actually, both actors are 51 – also known as “old enough to be Olivia Wilde’s dad.” Or, in this case, love interest.

It’s not unbelievable, people. It’s magic.

2 stars (out of 5)

So that happened…A Dead Guy at Shake Shak

When my twin sister Joy and I were high school freshmen, our older sister Ellen – by then a teacher in another town – got us jobs at the ice cream stand where she’d worked throughout high school, the Shake Shak.

For a couple of high school freshmen, working at the Shake Shak was about as dreamy as dating Johnny Depp in his 21 Jump Street glory. We were almost entirely unsupervised and were, therefore, free to consume soft serve, hot dogs, and shredded chicken sandwiches until the preservatives leaked from our pores. And we did.

The gig also had its negatives. The criminally meager pay, for one, but the primary flaw was the odor. Walking inside the door of the building’s tiny metal back end doomed you to reeking of coney sauce until showering. Forget about picking up your check and then heading out for the night. One foot in, and the clothes had to be burned.

That back half of the building – concrete floors surrounding the giant freezer; metal tables supporting vats of the saucy meat product – stunk the worst. The front half benefited from a breeze via the sliding-window openings in the three walls of glass where patrons placed the orders – decisions they’d come to after pondering our wares from dozens of fading, grime-covered fliers taped to the window fronts.

Joy and I worked evenings and weekends, which, coincidentally, were the shifts owner Jon Drummer was too cheap to stock with a manager. No, sir, strictly teens being paid well, well below minimum wage.

Joy and I worked with scary Cara, the high school senior who sold drugs from the drive thru window and filled her pockets with every twenty dollar bill in the register before leaving work at shift’s end. I began smoking at 14 because of Cara Bloomville. She handed me a cigarette one day and I obeyed.

Cara loved Iron Maiden and, therefore, hated everything else the 80s vomited forth as metal. She used to sing a song to herself as she worked, one she’d written to the tune of Bon Jovi’s “Wanted Dead or Alive”:

I’m a faggot

and my name is Jon Bon Jovi

and I got AIDS

and I’m gonna die

 

Aside from hair metal, Cara hated Dawn, this cheery, pastel-wearing co-worker who beamed with an earnest sense of accomplishment and high self concept. She was easy to loathe.

I had the great joy of working the shift where Cara, apropos of nothing, called Dawn’s name in an unusually cheerful tenor. It was the chipper tone that caused me to put down my Star Hits magazine featuring a new Duran Duran foldout and take note.

Dawn spun about with her trademark effervescent zeal, only to face a double barrel onslaught of condiments. Cara wielded a catsup in one hand, a mustard in the other, and squeezed those bitches like their contents might put out a raging fire.

Or one super sparkle smile.

But Dawn simply skipped back home to change, her house sitting beyond the large yard out back where Jon kept a couple of rickety picnic tables and a rusted green dumpster. On lucky days, Jon – shirtless, sweaty, and unmistakably obese – would mow that patch of grass between Shake Shak and Dawn’s house. I would Brillo that image from my very eyeballs if only I could.

Filling out the cast of characters was another set of twins – hillbilly sisters. One sister was constantly scarred up with hickies. She was a redhead and for the life of me I can only remember her as Reba. This is not her name, but I somehow replaced her name in my head, and so, now and forever more, Reba it is.

Her sister was just an idiot. I don’t remember her name, either. Idiot will work. Reba I liked, but Idiot was intolerable. She pinched off chunks of shredded chicken sandwich and then put her sandwichy fingers in her mouth. She smiled with the seductive naivety of an adolescent with pubescent hormones and pre-school brain function. I found her repellant.

Her friends, though – the half dozen or so that loitered in front of the building eating ill-gotten treats whenever either sister worked – they were a riot!

Idiot’s boyfriend got into an argument about Monster Trucks (presumably), in front of our glass-encased building and eventually pulled out nun-chucks. Nun-chucks! How awesomely white trash is that?! He was even wearing tube socks and a wife beater. That part is probably inaccurate, but he totally had nun-chucks. And a mullet.

So he hit some guy and blood slapped across the window front like something from one of Cara Bloomville’s condiment guns. At which point the group out front scattered like cockroaches, but it was glorious while it lasted.

And so it was, a smattering of rubes congregating in front of the order windows, one day as I shared a shift with my sister and Reba. The lesser sister stood outside the open order window pilfering free food, when one of her buddies said, “Do you know there’s a dead guy out by the dumpster?”

I responded with the contemptuous grimace I’d been working on, which would eventually become my go-to response to all queries. He mistook it for a quizzical, perhaps ignorant, expression.

“Out back. By the dumpster. There’s a dead guy.”

I tried again to chill him with my withering glare of superiority and hate, but the others had heard, and so the situation suddenly required investigation.

Several more members of the Free Food Rabble moseyed to the back of the building to have a look while, indoors, Joy, Reba and I began to wish Cara Bloomville were working. Just in case. Surely it was a lame joke, or else there was a passed out drunky. No doubt he’d take off with the approach of the mob.

Still, Cara probably knew what to do with a dead body.

“Yep,” informed Jimmy Slackjaw. “He’s dead. I burped in his face and everything.”

OK, his name is not Jimmy Slackjaw, but I swear to God, that’s what he said.

Idiot concurred. “No, seriously, you guys…” she began, with her trailer park sultry overemphasized s sound. “He’s dead.”

The overfed, under-appreciative group looked to us to take charge of the situation. We chose not to respond. They eyeballed us with disdain. We closed the order windows and hid in the back end of the building with the meat vats.

The Hick Posse got bored and wandered off, but the three of us couldn’t quite enjoy the taste of our Oreo blizzards or butterscotch dip cones. What if we really were trapped inside a glass building while a corpse rotted in the summer sun out in our parking lot?

Surely it wasn’t so.

Joy, Reba, and I opened the back door and, clinging one to another, peered around it to see how much of the mysterious body we could glimpse.

None of him.

Nobody was there. We were sure of it.

How could we really be sure of it, instead of lying to ourselves as we clearly were doing at this point?

We called Dawn. Our strategy was to lure her over under the pretense of friendship. She’d have to walk right past the dumpster on the way.

Dawn wasn’t home. She was at synchronized swimming lessons.

Of course she was!

We’d have to do this ourselves. It would require leaving the building.

We stepped as one teal-wearing, coney-smelling body toward the dumpster. Reba saw a shoe.

We screamed, arms flailing, and stumbled over each other back inside.

Should we have phoned the authorities at this point? Undoubtedly, but this is why you don’t leave your business in the hands of three Tiffinite teens.

“We should call Cara,” Reba recommended.

“Go ahead,” I tentatively agreed.

“I’m not calling her. You call her,” she told me.

“Fuck that.”

“You should call her, Hope. She’s friends with you,” Joy counseled.

Really? Did Cara Bloomville like me?

“She’s lying,” Reba clarified. “Everybody likes Joy best.”

But Joy wasn’t calling. And at no point did it occur to any of us to call the shop owner.

Based on what amounted to my experience with similar situations, I explained to Joy and Reba what was bound to lie ahead.

“Dawn will stop by on her way home from synchronized swimming. She’ll see him and tiptoe in closer, hoping to help. He’ll reach out with the cold grip of someone returned from the dead, and he’ll kill her.

“We’ll hear the screaming and open the door, only to see his limping, tattered rage as he turns his attention to us.

“We’ll slam the door, but he’ll begin pounding relentlessly. He’ll circle the building. We won’t be able to go near the window. He’ll slap wildly at the glass out front, and then all will go silent.

“Terrified, we’ll lock ourselves in the freezer, but eventually we’ll hear Cara at the back door, wanting to get in for her check. She’ll curse and bitch about how slow we are. We’ll hear her voice trail beside the building, out around front, and then we’ll hear the wet thump of her mangled body against the window. We’ll scream and scream, utterly incapable of saving ourselves as he uses her lifeless corpse to bust through the glass.”

“Let’s go back out,” Reba whispered.

We gumptioned up and headed back out, this time with a small amount of air between each body. I took the lead, but would walk only so far ahead of Joy that I could still reach back and grab her. She kept a similar distance from Reba. We inched forward.

There was definitely a whole guy attached to those dirty Converses. He was on his side, wearing ratty athletic shorts and a green tee shirt. He was freakishly pale. Fishbelly white. Nasty white.

We threw a stone. Nothing.

We called to him. Nothing.

We called and threw more stones. We offered him ice cream. We asked him to please, please get up and go away. We huddled desperately together and decided one of us had to touch him.

We had to know for certain to intelligently determine our course of action.

It was the obvious next step.

I would be the one to go.

Why was it me? Why was it always me?!

I made my move toward the heap of dude. I crouched. I looked back at the clinging JoyandReba mass behind me in the parking lot, the door to the building behind them ajar and letting out waft after waft of coney stench. I looked back at the dead guy at Shake Shak.

His eyes were open.

“You didn’t call the cops, did you?”

 

Outtakes: Central Ohio Film Critics 2012 nominees

www.cofca.org

Nominees for the 11th annual Central Ohio Film Critics Association awards

(Columbus, December 29, 2012) The Central Ohio Film Critics Association is pleased to announce the nominees for its 11th annual awards.  Winners will be announced on the evening of January 3rd, 2013.

Notes on the nominees:

-Ties in the nomination round produced eleven nominees in the Best Film category and six nominees in the Best Director category.

-Although eleven films are nominated for Best Film, voting will finalize a Top 10 list.

The 2012 Central Ohio Film Critics Association awards nominees are:

Founded in 2002, the Central Ohio Film Critics Association is comprised of film critics based in Columbus, Ohio and the surrounding areas. Its membership consists of more than 20 print, radio, television, and internet critics. COFCA’s official website at www.cofca.org contains links to member reviews and past award winners.

The 2012 Central Ohio Film Critics Association awards nominees are:

Best Film

Argo

Beasts of the Southern Wild

The Cabin in the Woods

Django Unchained

Les Misérables

Lincoln

Looper

The Master

Moonrise Kingdom

Silver Linings Playbook

Zero Dark Thirty

Best Director

-Ben Affleck, Argo

-Paul Thomas Anderson, The Master

-Wes Anderson, Moonrise Kingdom

-Kathryn Bigelow, Zero Dark Thirty

-Tom Hooper, Les Misérables

-Steven Spielberg, Lincoln

 

Best Actor

-Bradley Cooper, Silver Linings Playbook

-Daniel Day-Lewis, Lincoln

-John Hawkes, The Sessions

-Hugh Jackman, Les Misérables

-Denis Lavant, Holy Motors

-Joaquin Phoenix, The Master

Best Actress

-Jessica Chastain, Zero Dark Thirty

-Jennifer Lawrence, Silver Linings Playbook

-Helen Mirren, Hitchcock

-Quvenzhané Wallis, Beasts of the Southern Wild

-Naomi Watts, The Impossible

Best Supporting Actor

-Alan Arkin, Argo

-Leonardo DiCaprio, Django Unchained

-Philip Seymour Hoffman, The Master

-Tommy Lee Jones, Lincoln

-Christoph Waltz, Django Unchained

Best Supporting Actress

-Amy Adams, The Master

-Ann Dowd, Compliance

-Sally Field, Lincoln

-Anne Hathaway, Les Misérables

-Helen Hunt, The Sessions

Best Ensemble

Argo

Les Misérables

Lincoln

Moonrise Kingdom

Silver Linings Playbook

Actor of the Year (for an exemplary body of work)

-Joseph Gordon-Levitt (The Dark Knight Rises, Lincoln, Looper, and Premium Rush)

-Anne Hathaway (The Dark Knight Rises and Les Misérables)

-Jennifer Lawrence (House at the End of the Street, The Hunger Games, and Silver Linings Playbook)

-Matthew McConaughey (Bernie, Killer Joe, Magic Mike, and The Paperboy)

-Channing Tatum (21 Jump Street, Haywire, Magic Mike, and The Vow)

Breakthrough Film Artist

-Tom Holland, The Impossible – (for acting)

-Bart Layton, The Imposter – (for directing)

-Quvenzhané Wallis, Beasts of the Southern Wild – (for acting)

-Benh Zeitlin, Beasts of the Southern Wild – (for composing, directing, and screenwriting)

 

Best Cinematography

-Danny Cohen, Les Misérables

-Roger Deakins, Skyfall

-Mihai Malaimare Jr., The Master

-Claudio Miranda, Life of Pi

-Robert Yeoman, Moonrise Kingdom

Best Adapted Screenplay

-Stephen Chbosky, The Perks of Being a Wallflower

-Tony Kushner, Lincoln

-David Magee, Life of Pi

-David O. Russell, Silver Linings Playbook

-Chris Terrio, Argo

Best Original Screenplay

-Wes Anderson and Roman Coppola, Moonrise Kingdom

-Mark Boal, Zero Dark Thirty

-Drew Goddard and Joss Whedon, The Cabin in the Woods

-Rian Johnson, Looper

-Quentin Tarantino, Django Unchained

Best Score

-Alexandre Desplat, Argo

-Alexandre Desplat, Moonrise Kingdom

-Reinhold Heil, Johnny Klimek, and Tom Tykwer, Cloud Atlas

-Howard Shore, The Hobbit: An Unexpected Journey

-Hans Zimmer, The Dark Knight Rises

 

Best Documentary

How to Survive a Plague

The Imposter

The Queen of Versailles

Samsara

Searching for Sugar Man

 

Best Foreign Language Film

Headhunters (Hodejegerne)

Hipsters (Stilyagi)

Holy Motors

The Kid with a Bike (Le gamin au vélo)

Let the Bullets Fly (Rang zidan fei)

Best Animated Film

Brave

Frankenweenie

Madagascar 3: Europe’s Most Wanted

ParaNorman

Wreck-It Ralph

 

Best Overlooked Film

Bernie

Goon

Killer Joe

Safety Not Guaranteed

Seven Psychopaths

 

 

COFCA offers its congratulations to the nominees.

Previous Best Film winners:

2002:  Punch-Drunk Love

2003:   Lost in Translation

2004:   Million Dollar Baby

2005:   A History of Violence

2006:   Children of Men

2007:  No Country for Old Men

2008:  WALL·E

2009:  Up in the Air

2010:  Inception

2011Drive

For more information about the Central Ohio Film Critics Association, please visit www.cofca.org or e-mail info@cofca.org.

The complete list of members and their affiliations:

Richard Ades (The Other Paper); Kevin Carr (www.7mpictures.com, FilmSchoolRejects.com); Bill Clark (www.fromthebalcony.com); John DeSando (90.5 WCBE); Chad Dull (The Other Paper); Frank Gabrenya (The Columbus Dispatch); James Hansen (Out 1 Film Journal); Nicholas Herum (Columbus Underground; Movies Hate You Too); Brad Keefe (Columbus Alive); Kaizaad Kotwal (C Magazine, Gay Peoples Chronicle); Kristin Dreyer Kramer (NightsAndWeekends.com, 90.5 WCBE); Joyce Long (WOSU Public Media); Rico Long (WOSU Public Media); Hope Madden (The Other Paper); Paul Markoff (WOCC-TV3; Otterbein.TV); David Medsker (Bullz-Eye.com); Lori Pearson (Kids-in-Mind.com, critics.com); Mark Pfeiffer (Reel Times: Reflections on Cinema; WOCC-TV3; Otterbein.TV); Melissa Starker (Columbus Alive, The Columbus Dispatch); George Wolf (The Other Paper); Jason Zingale (Bullz-Eye.com); Nathan Zoebl (PictureShowPundits.com).

Scary movie blog

Vampire’s Kiss (1988)

Sure, we all hate Nicolas Cage. He’s a whore, a has-been, and his wigs embarrass us. But back before Con Air (the film that turned him), Cage was always willing to behave in a weirdly effeminate manner, and perhaps even eat a bug. He made some great movies.

Among those works ranks this bizarre horror comedy, which would make an excellent back to back viewing with Christian Bale’s American Psycho. Both films loathe the soulless, white collar white man in a suit. One portrays him as a serial killer, while this one sees him as a blood sucker. Either way, he’s a sociopath who preys on the rest of us.

Both films boast fascinating, savage turns from male leads who would go on to dominate acting for years after these unhinged performances. We have yet to see whether Christian Bale will eventually whore himself out to the highest bidder, wearing ridiculous hair pieces while driving his motorcycle from the depths of hell to find the missing Constitution. Let us hope not.

In keeping with a theme I appear to be building, Christian Bale ate worms in the film Rescue Dawn. Vampire’s Kiss is best known for the scene in which Cage eats a cockroach. (Putting both actors to shame is Divine, who ate actual dog shit for John Waters’s Pink Flamingos.)

Dietary hijinks aside, Cage gives a masterful comic performance as a narcissistic literary editor who descends into madness. The actor is hilarious, demented, his physical performance outstanding. The way he uses his gangly mess of limbs and hulking shoulders inspires darkly, campy comic awe. And the plastic teeth are awesome. 

Peter Lowe (pronounced with such relish by Cage) believes he’s been bitten by a vampire (Jennifer Beals) during a one night stand. It turns out, he’s actually just insane. The bite becomes his excuse to indulge his self-obsessed, soulless, predatory nature for the balance of the running time.

The object of most of Lowe’s deviance is his secretary, poor, hard working Alva (Maria Conchita Alonso). Her wholesome life, though humble, carries with it a happiness and fulfillment that Lowe’s seemingly enviable high rolling lifestyle lacks. When the natural order of superiority is disrupted – when Alva snickers at Peter’s sockless ankle – his world and mind finally crumble. He may think he abuses her with sinister panache because he’s slowly turning into a demon, but we know better.

If the news of National Treasure 3 is too much to bear, maybe give this one a shot.

So that happened…

Bearded Ladies and Drunks in Bars

As far as I can tell, there are three undeniable truths in life.

  1. Kids are stupid.
  2. Boys smell bad.
  3. Weird things happen when you sit near the restroom in bars.

Here’s a tale to exemplify Point 3.

George and I were out recently, minding our bees wax and drinking a beer at a neighborhood establishment when a fellow imbiber stumbled toward the ladies room. Sure that was not the spot he wanted, George hollered after him: “Hey, that’s the ladies’.”

The fully bearded human turned around to respond, “I am a woman,” and then entered the ladies room.

We sat in astonished silence for a minute, and then commenced drinking.

Soon enough, Beardy McClearlyaman emerged from the restroom and meandered over to our table.

“A hole’s a hole, right?” he said.

“Just keep walking,” George responded.

“But I wasn’t walking,” Beardy said, clearly baffled.

“Then please do,” I piped up.

The guy stood there, confused and staring, then laughed, “Oh, right,” and stumbled off.

I swear to God this happened.

I don’t even want to talk about the guy who kicked the door open and shouted, still standing in the bar, “It’s shittin’ time, fellas!”

Although maybe that was like a public service announcement, I don’t know.

Scary movie blog

Happy Friday the 13th!

To celebrate, I sat down to a marathon event of all twelve episodes of the summer camp slashers because I have a tragic and time consuming weakness.

This iconic villain has been whored out so many times since he burst from the lake in the last moments of the 1980 flick that the real task over the years has been finding new and interesting ways to exploit him.

For instance:

Friday the 13th (1980): The first installment boasted the quirky, over-the-top Tom Savini FX that gave you something to look at beyond the revolving door of shrieking, dying knuckleheads. It gets points for almost engineering a genre on its own. Although it lifted entire scenes from Mario Bava’s Bay of Blood, and there were several slashers prior to this film, its epic popularity dialed the slasher genre up to eleven. Also, of course, is the outstanding Kevin Bacon death scene. (Kevin Bacon Death Scene – I love them! I think I saw them open for Skinny Puppy in ’88.)

Friday the 13th Part II (1981): Gone is the novelty of the grief crazed mother, replaced by the far more potent (franchise-wise) image of an unstoppable killer in Jason Voorhees. Wearing a burlap sack over his deformed face, the now fully grown Jason finishes off the last survivor of the original, shows a loving affection for his mother’s disembodied head, and kills everyone at the reopened camp except for Ginny, who – in huge cop out fashion – awakens in an ambulance without explanation as to how she made it out of that barn alive. Lame.

Friday the 13th Part III (1982): The first of the series’ many “final installments,” Episode 3 is mostly famous for introducing the iconic hockey mask. An annoying young woman is trying to recover from an earlier attack; meanwhile, unbeknownst to her, Jason is recovering from Part II’s injuries in her barn. Jason smooshes a guy’s head so his eye pops out – in 3D! The film ends with an unsatisfying dream sequence followed by the sighting of Jason’s dead body. So, clearly, he’s gone for good. Whew!

Friday the 13th: The Final Chapter (1984): Would that it were. This second attempt to end the franchise inadvertently begins what I like to call the Tommy Trilogy. Part 4 also sees Crispin Glover (professional oddball and Back to the Future’s George McFly) get laid (and, then, of course, get a meat cleaver to the face). Later, Eighties icon Corey Feldman chops Jason Voorhees to pieces. Feldman plays Tommy, and Tommy just chops and chops and chops. Chop him up good, Tommy! Not that it will help.

Friday the 13th: A New Beginning (1985): A profitable franchise, like an unstoppable murdering machine, is hard to kill. Since that last installment left little possibility for Jason’s survival, but so much more money to be made, the unavoidable 5th installment had to come up with something novel. So, we open on a dream sequence that has Jason’s killer Tommy witness Jason’s graveyard resurrection. But that’s too nutty – surely that didn’t happen! No, instead we get a copycat Jason slaughtering teens in a halfway house. Yawn.

Friday the 13th Part VI: Jason Lives (1986): Tommy – remember him, he chopped Jason to bits in episode 4 then went to a halfway house in episode 5 after dreaming that Jason could be brought back from the grave? He does the unimaginably stupid and brings Jason back from the grave. The local sheriff deems Tommy nuts, tries to jail him, tries to run him out of town, then is bent in two by Jason as he realizes he’d perhaps judged Tommy too harshly. Dumb as it sounds, this one actually feels smarter than all previous films – self referential, even comical.

Friday the 13th Part VII: The New Blood (1988): By the late Eighties it was impossible to keep each one straight, and yet the most famous Jason doesn’t enter the picture until this 7th installment: fan favorite Kane Hodder. Hodder’s Jason is released from his lake prison by a confused telekinetic. Think of it overall as a kind of Carrie vs Jason. Terry Kiser (Bernie from Weekend At .. fame) plays a total dick of a doctor. A lot of weird shit happens in this one.

Friday the 13th Part VIII: Jason Takes Manhattan (1989): We were all so tired of Jason by 1989. So tired. So writer/director Rob Hedden decided to freshen things up by leaving Crystal Lake behind and spending an interminable amount of time on a row boat, a big boat, on docks and in sewers in an attempt to make a comment on the ugly modern times in New York. Except that we see almost no NYC, Jason barely comes into contact with New Yorkers, and the end sees him melt down into a frightened little boy. What the hell?

Jason Goes to Hell: The Final Friday (1993): Speaking of hell. So Jason’s a demon by this point, killed in an FBI sting – blown to bits, regardless of what happened to him in the last installment. Unfortunately his black heart keeps beating, and he slides from one poorly drawn character into another while some nonsense about his bloodline and a mystical dagger is bandied about. Things get nutty in this one, I won’t lie to you. And it ends with Freddy Krueger laughing.

Jason X (2002): He’s been to hell. Where to now? How about deep space? Well, there is a difference between quality bad and worthless crap, and this movie plain old sucks. The great David Cronenberg plays the mad scientist who cryogenically freezes Jason Voorhees. Flash forward 453 years, and the frozen carcass is found, brought aboard New Earth’s space craft, and Jason Meets Aliens unspools.

Freddy vs Jason (2003): At long last! Here’s the skinny: Freddy can’t hurt anyone if he’s forgotten, so he (somehow) brings Jason back from the dead and sends him to Elm St. to carve up some youngsters, knowing that the carnage will revive the town’s memory of the old nightmare killer. The memories make Freddy strong enough to kill again, but now Jason won’t get off his turf, so they have to duke it out. Some highly augmented and imaginative teens piece this puzzle together and hope to find a way to finish both monsters off for good. Will they succeed? Does it matter? And who will win this battle between the iconic bloodletters? With a little fresh blood spilling from these tired old veins, don’t we all win, really? 

Friday the 13th (2009): Unfortunately, Freddy V Jason wasn’t the capper. Not a remake at all, 2009’s Friday the 13th is just another sequel. For the most part, you get what you should, by now, expect: drinkers, sluts, jocks and drug users die; quirky, eternally single ethnic friends brought along for comic relief die; disposable youth mostly fall victim to hatchets to the back, machetes to the skull. There’s also a return to the old “boobs a’bouncing” school of slashers. (This bouncing usually takes place just prior to a hatchet to the back or a machete to the skull.) In fact, there seem to be no tired formulas the film is wary to trot out. It’s as if Jason pulled out the Way Back Machine to revisit the land of 80s horror film cliches. Too bad he didn’t stay there.

So that happened…

Mr. and Mrs. Crankypants

It’s 11:45 pm on Monday night. I’m dozing off. Then, I’m awake! Why? Because someone is apparently having a traumatic, extremely loud telephone breakup underneath my bedroom window.

I assume, as is my way, that it’s some hyperdramatic teenage girl bawling into her iPhone about some imagined slight. Because, as you know, kids are stupid. But my prediction is off. The ruckus comes from a fully grown woman, pacing up and down the alley behind my house, yelling loudly enough into her phone to keep me wide awake. 

And she doesn’t even have the courtesy to be articulate. I can’t understand a damn word she’s sobbing into her phone. If you’re going to keep me awake, at least be eaves droppable!

It would be one thing if she would move in a single direction. Sure, my neighbors and I would all be roused, but we could quickly drift back to sleep were it not for her circle back approach. It’s loud, it’s loud, it’s less loud, it’s even less loud, it’s quiet, it’s growing louder again, she’s screaming shaky voiced and weeping under my bedroom window again.

I hate to kick a sobbing woman when she’s down, but honestly, enough is efuckingnough. My next door neighbor has three kids under the age of 5. There’s a 4-year-old on the other side of the alley, a 4th grader next to him. Basically, her stomping and screaming ground runs back and forth outside the bedrooms of many, many sleeping kids and working parents.

Which has nothing to do with anything because, let’s be honest, I like my sleepytime and she is disrupting it.

So, I muster up my energy and send George out to deal with her.

“Hey, be quiet!” George hollers with noticeable sympathy out the window toward the pacing wailer.

“Fuck you! Oh, great! Fuck you!” she elegantly answers.

“Shut your mouth or I’ll call the cops,” he responds. Nice! That’s my honey bunch!

So two great things are accomplished this Monday night. One: I finally go to sleep. Two: we are officially the neighborhood’s “Hey you kids, get off my Goddamn lawn!” couple.