An image showing a sign that reads Crystal Lake hanging in the woods.

Crystal Lake is a solid and bloody return for the Friday the 13th franchise

You can read my full review of Crystal Lake at The Horror Lounge.

It’s been a long, long time since Friday the 13th fans have been treated to anything new in the famed slasher universe. The last movie was the 2009 remake, and due to lawsuits, there’s been nothing since then. So, to say that there’s been a lot of hype and anticipation around the prequel series Crystal Lake is an understatement.

While the series offers plenty of nods to the film franchise and familiar characters, as well as the return of composer Harry Manfredini, it also pushes forward and opens up a world of possibilities for Friday the 13th. Additionally, it contains some great kills, practical effects, and a hell of a performance by Linda Cardellini as Jason’s mom, the grief-stricken and revenge-fueled Pamela Voorhees.

Primarily set during the summer of 1972, the events of Crystal Lake occur before the first film, which takes place in 1980. The first episode rehashes events already known. Jason (Callum Vinson) is the weird, disfigured child who can’t make friends, and while Camp Crystal Lake counselors have sex, he drowns. Again, there’s nothing new in the opening episode, but there is, however, ample time spent fleshing out Jason as a boy and a multi-dimensional character, including how alone he feels and how his mom is his only friend, other than another oddball kid, Grace (Gwendolyn Sundstrom). In fact, the scenes between Jason and Pamela and Jason and Grace are some of the strongest in the series. They humanize Jason and make his death and its aftermath that much more impactful, especially Pamela’s visceral reaction to it. She sees Jason everywhere and in the following episodes, she’s certain he’s lurking and surviving in the woods. After all, they didn’t find a body.

Crystal Lake also works because it offers a well-rounded cast of interesting characters that expand the universe beyond Jason. Crazy Ralph, the harbinger of doom from the first two movies, is given a bigger role as a survivalist and PTSD-rattled vet. Nick Cordileone’s performance as the fan favorite character adds breath and dimension to Ralph, while William Catlett’s performance as Crystal Lake Police Chief Levon is another standout, especially his backstory about why he left Newark to work in such a smaller New Jersey town. He’s one of the show’s main characters and one who still believes in and supports Pamela through her profound grief. If this series is renewed for a second season, and let’s hope it is, his story warrants more attention. He’s a compelling main character.

Additionally, Crystal Lake is well-utilized in the film. It feels like a living, breathing character, and the scenes of Blairstown, where the initial film was shot, add some real connective tissue. There’s also something supernatural-like about the lake, to the point Pamela warns children not to swim in it because they’ll “disturb it,” perhaps as Jason’s resting place or scenery he watches over. Of course, there’s also a bit of campiness and horny, dumb teenagers. It wouldn’t be the Friday the 13th universe without it. That said, it’s also the townies that enhance the setting, and even if they’re not main characters, they work in bringing Crystal Lake to life, be it when they’re gossiping at the local diner or hosting a summer picnic. One particular favorite is Rita (Joy Suprano), who bonds with Pamela because she also lost a child. Yet, she has some of the funniest moments in the season, especially when she sets her eyes on wealthy men.

All of that said, Crystal Lake is Pamela’s story through and through, tracing her journey from a loving mom who gave up a singing career to take care of her disabled kid, to a revenge-fueled mother willing to slash and hack teens and anyone else who gets in her way. Cardellini is absolutely fantastic in the role and deepens Pamela’s story, making it richer and fuller, perhaps even warranting sympathy from viewers. Cardellini is increasingly one of the most exciting American actors around, but this time, she really steals the show and it’s great to see her so front and center in a series, going through a wide range of emotions, including grief, regret for a career that could have been, and of, course murder.

As for the carnage, there’s plenty of it, nearly every episode. Some of the kills are brutal. Some are funny. Some are sudden and surprising, but most of them are messy, bloody, and gory. The practical effects look great. There’s one kill that occurs early in the series during a weekend retreat/workshop that’s utter carnage candy and a delight for slasher fans. It’s one of the best in the series.

Regarding Jason and his backstory, that won’t be spoiled here, but Crystal Lake does fill in some of the gaps about why exactly Jason can’t die. It also ties into Pamela’s story, and likely, some fans will be turned off by this narrative thread. However, over eight episodes, the writers had to flesh out the backstory and expand the lore. Otherwise, there wouldn’t be enough meat to warrant the episodes and their runtimes. It does lead to some solid payoff in the final episode. That said, some of the backstory is absurd, even for this franchise that at one point shot Jason into space. There’s also a major narrative thread regarding Grace that’s just sort of dropped mid-season. Hopefully, it’s revisited and resolved in a second season.

Crystal Lake has a lot riding on its shoulders. The series is very much a reboot for the franchise, and thankfully, it mostly delivers. There are grisly kills, a hell of a performance by Cardellini, horny, stupid teenagers just waiting for a machete to the skull, and deeper characterization. The series works well as a prequel but opens exciting opportunities for the franchise moving forward. Some fans may not like how the series somewhat rewrites the lore, but there’s a lot of potential here for a Season 2 and a new movie. Crystal Lake is a bloody blast and a strong return for the storied Friday the 13th franchise.

Give us more Pamela and Jason soon, please, including that infamous blue sweater.

All eight episodes of Crysal Lake will stream on Peacock on October 15.

An image of C.J. Graham as Jason Voorhees from the movie Jason Lives

Jason Lives at 40: An interview with writer/director Tom McLoughlin and star Thom Mathews (Tommy Jarvis)

Tom McLoughlin at the Jason Lives in Hell Event

When people ask me how I got into horror, Friday the 13th Part 6: Jason Lives is a movie I often cite. It was one of the first horror movies I ever saw, and it had a self-awareness and humor that I really dug (this was a decade before Scream made meta such a thing).

This past weekend, I attended Jason Lives in Hell, sponsored by Horror / 365, a celebration of the F13 sequel’s 40th anniversary. I’m incredibly grateful for the chance to interview writer/director Tom McLoughlin and star Thom Mathews about the sequel’s enduring popularity, the future of the franchise, and the influence of the Universal Monsters on the movie’s look and zombie Jason. Read the full interview at The Horror Lounge. I included some of it below.

The Horror Lounge: Looking back 40 years, what do you remember most about the filming process and the movie as a whole?

Tom McLoughlin: It’s like one big dream. For one, we all bonded so quickly. Now, 40 years later, we’re all still friends. We text each other weekly. We do conventions, see each other, and hang out. That doesn’t usually happen with movies. We managed to keep it together. I never expected this. I thought it would play one weekend and the next weekend, it would drop off and then play a few drive-ins. There wasn’t the DVD and VHS world quite yet. It was still in its infancy.

It just keeps going. That’s probably the most amazing thing of this whole process. The rest of it was that they gave me permission to make the movie I wanted to make. It didn’t seem like that would happen. Usually, someone steps in. I was very, very lucky. Most of these things now are made by committee. You don’t know who will win the arguments.

The Horror Lounge: Thom, from your perspective, how it does it feel to celebrate the 40th anniversary of Jason Lives?

Thom Mathews: Unbelievable. You can’t predict these things. The length that it has and the franchise is amazing, including the game that came out of it. I thought it was genius that they made a game. The kids who play the game probably shouldn’t see the movie just yet, but they could play the video game and become fans. It was a genius idea from the franchise to do that.

The Horror Lounge: Can you address the influence of the Universal Monsters on Jason Lives? It creates such a different tone than other slasher movies.

Tom McLoughlin: The Universal Monsters were what I grew up watching. I wasn’t supposed to. My mother told me to turn off the TV. I collected Famous Monsters magazine. I always had to buy two because my mother would always find one and tear it up. [Laughs]. We were the offbeat, strange kids that did this. When you go to these conventions, it’s where all of these geeks come with tattoos from my movie and other people’s movies. We’re a club and a whole culture.

With Frankenstein’s Monster, Dracula, and Wolf Man, I identified with them. It wasn’t like I wanted to be a filmmaker. I wanted to be them. That love continued on. When the job came along, I wanted Frankenstein’s influence, which, of course, is the lightning bolt. I put Karloff’s Market there. I gave away where I was getting the stuff from. If you took the color out [of Jason’s Lives], it looks like an old Universal horror movie with the contrasting photography. It definitely falls into the old monster category.

The other thing I did is that we have two people with agendas. Tommy wanted to burn Jason’s body. He has a strong agenda going through the movie, while Jason is going to get this kid, and anyone who he comes across is going to get it. That’s what he is. He’s a killing machine, and now he’s unstoppable. Traditionally, that’s what the best monsters are. You can’t stop it. It’s evil. It’s driven, and it’s a force.

Those elements, I think, have really helped its longevity. You can go back and watch it because it feels like a journey.

The Horror Lounge: Thom, you’re the third actor to play Tommy following Corey Feldman and John Shepherd. What was it like to step into a role that was already established? You bring so much weight to the character.

Thom Mathews: When I got cast for the part, I did my research and watched parts 1-5, with particular interest in 4 and 5. I was replicating and continuing a character that had already been stablished. I was looking for something that John and Corey did that I could use to carry on the character. There wasn’t anything that stood out, like a physical mannerism. I did my own thing and talked to Tom a lot. I always consider myself a character actor, so that was the coolest part. I just played it straight. I listened to the story and what Tom wanted.

The Horror Lounge: Jason Lives also has a self-referential element. This was well before Scream. Can you comment on that aspect, Tom? Was it intentional in the script?

Tom McLoughlin: I didn’t want to just make a slasher movie. I didn’t want to make a movie about killing women. Also, since it was the sixth one, what else could I do? The James Bond intro is the first example of me waving my flag, saying we’re going to have fun. If you read those old Famous Monsters magazines, there was always a sense of humor. I wanted to have that element. There was nothing I was imitating. When we talk horror, we have fun with it.

I really had egg on my face years later. I was offered the script for Scream and turned it down. I thought I had already done that and didn’t want to copy myself. When I didn’t read any other good scripts, I went back to my agent and asked if the script was still available. My agent told me Wes Craven grabbed it. It became Scream and Scream is still going. It wasn’t the best creative career decision of my life, but when I met Kevin Williamson years later for a show he was doing, he told me Jason Lives had so much of an influence on Scream. You just never know. I also turned down CSI. Every so often, you make these choices and you think they’re right at the time, but in the long run, you never know.

The Horror Lounge: Thom, what was your favorite scene? The characters are so distinct.

Thom Mathews: That’s all Tom. Could you imagine Paramount coming to you and telling you they want you to direct a Friday the 13th? Jason is in it. There has to be a certain amount of kills and make a story out of it. He came up with characters that you care about. There’s a love interest and romance possibility. You got to know and like the characters. You get invested in the characters, and that’s why people responded so well. It was shot beautifully, and the soundtrack was great. C.J. did a great job. No hard feelings to Kane Hodder, but C.J. is my favorite Jason. [Laughs].

The Horror Lounge: Thom, what was it like working with C.J. as Jason and Jennifer Cooke as Megan? These are the characters that Tommy is really tied to in the movie.

Thom Mathews: Well, C.J. was the monster. We never hung out. If I saw him on the street while we were filming, I wouldn’t know who he was. I never saw him out of wardrobe, and Jennifer was just a sweetheart. We were both young and happy to have a job. She was a very strong character in the movie. It was great to work with her.

The Horror Lounge: Can you talk about how you filmed that ending in the lake and the final sequence and confrontation between Tommy and Jason?

Tom McLoughlin: It was bits and pieces to make it happen. First, we used the real lake for the wide shots and C.J. going into the lake. When Megan [Jennifer Cooke] runs and jumps, she jumps into a pad. We framed it so you don’t see that. Then, we had to go to USC [School of Cinematic Arts] in Los Angeles that had a big, Olympic-sized pool. They put black tarps around the bottom. That’s where the fight happened. In the lake, you’d never see anything. The wide shots worked. We did all of that, and when it got to the point where we had to chop into [Jason’s] head, USC did not want to put blood and gunk into their Olympic pool. Then, I called up my dad. I wouldn’t have done movies if not for him. He was a USC film student. He loved the idea, but I told him it would really mess up his filter. He was out there with his camera, shooting. He was so excited to have a movie in the backyard. That’s where we did the close-ups of the chopping up [of Jason’s head].

The Horror Lounge: If the Friday the 13th powers that be listened to you, Tom, what would you like to do with the franchise and Jason moving forward?

Tom McLoughlin: I wrote a script called Jason Never Dies. It’s 13 years after he’s been put down, under water. He has algae and moss, and he’d look different, but it’s still the same stuff. It takes place on Thanksgiving weekend. Across the lake from Camp Crystal Lake is Camp Christian Lake, which is a retreat for religious groups. I have one nun and sixteen badass Catholic girls. One is a cutter. One sells drugs, and one is a chronic masturbator. They have attitudes, and they’re a badass club. Jason comes in there with an agenda. He’s looking for someone, but we don’t know who. It does harken back to Jason Lives. I can’t sell that thing or give it away because they have all the rights now and they’re taking it in different directions. One day, I’ll find a way to get it made. It also takes place in the snow.

Read the full interview by clicking here.

A Few Updates

It’s been a busy month of May, and I wanted to share some recent writing projects that are now out in the world.

First, Daryl Sznyter and I had the honor or interviewing Xavier Neal-Burgin, director of the outstanding documentary Horror Noire: A History of Black Horror. You can read the interview over at HorrOrigins. If you haven’t seen the doc, watch it. Even if you’re a film history buff or horror fan, I promise you that you’ll learn something new.

Recently, Horror Homeroom put together a journal in honor of the 40-year anniversary of Friday the 13th. The articles address a far range of topics, including the portrayal of masculinity in the franchise and critical reception to the films. I have an article in the issue entitled “No Clowning Around: The Comedic and Gothic Elements of Friday the 13th Part VI: Jason Lives.” Check out the journal entitled Friday the 13th at 40 and enjoy!

Lastly, I have an interview with Coralie Fargeat, director of Revenge, out in Signal Horizon Magazine. Check it out!

A Little Poem about My Favorite Slasher

JasonLives

Photo Courtesy of Paramount Pictures

About 10 years ago, Boston Literary Magazine was one of the first magazines to publish any of my work.  Prior to the acceptance, I had a few rejections  but remained persistent and kept writing and  revising, spurred on by editor Robin Stratton’s encouragement. Over the last few years, the magazine was on hiatus, but recently, it returned with a lengthy comeback issue. I’m deeply appreciative that my poem “The First Time I Watched a Friday the 13th” was included. I’ll forever be grateful to BLM for taking a chance on my work years ago, and I’m thrilled to have a new piece in the comeback issue. You can read it here or read it below.

 

The First Time I Watched a Friday the 13th

My mom kept watch on the sunflower recliner,

her brown eyes peering over pages of a paperback,

while I leaned towards the TV, inserted a VHS—

Friday the 13th Pt. 4.

 

I ran my hands over the sleeve—

the black holes of Jason’s hockey mask,

the silver knife that gleamed like moonlight

over Camp Crystal Lake.

 

I clapped at the first appearance of hulking Jason

power walking through the woods, stalking

first victims, camp counselors that guzzled beers,

traded joints back and forth like secret notes.

 

My mother said nothing about first kills—

a machete to the head, an arrow between the eyes,

the gasps of victims before the camera pulled away

and Jason dragged their bodies to the woods.

 

It wasn’t until two counselors disrobed,

reached for the buttons of each other’s shorts

that mom rose from her chair, stormed towards the TV,

seized the tape, clicked her tongue in disgust.

 

For months I searched for the VHS, like goods

thieved from me I wanted to reclaim. I never finished

that scene, the kill that always follows sex in slasher flicks.

 

My mother, too,was a moral judge,

wanting to shield my eyes from the female form,

from the mysteries of sex a 10-year-old wanted to ask.