Film

Defending 'Friday the 13th' (2009)


Friday the 13th

Director: Marcus Nispel
Cast: Jared Padelecki, Aaron Yoo, Amanda Righetti, Danielle Panabaker, Derek Mears, Travis Van Winkle, Willa Ford
MPAA rating: R
Studio: New Line Cinema
First date: 2009
UK Release Date: 2009-02-13 (General release)
US Release Date: 2009-02-13 (General release)
Website
Trailer

Outcasts rarely have a bully pulpit from which to preach. For the most part, those so afar from the maddening crowd are meant to stay there. Yet I find myself in the unique position of being one of those outsiders with a regular gig to spew my own specific point of view. This past weekend, I reviewed Friday the 13th 2009, the remake/reimagining/revamp of the moldy old '80s slasher epic. In said article, I stated that the film was a reverential and relentless exercise in horror from a man - director Marcus Nispel - who really understands the core concepts of fear on film. Awarding four out of five stars, I claimed this recent version of the Voorhees story was a "classic" and went on to tackle more imposing problems - like Confessions of a Shopaholic. As you can imagine, the hate has since been hot and heavy.

Over at Rotten Tomatoes, that collection of overall critical consensus, I am currently only one of 34 writers who enjoyed this post-millennial update. The rest of the 117 opinions - meaning 83 negatives for those of you who are math challenged - range from minor dismissal to outright rage. The overall feeling was that, as a scary movie, Friday the 13th 2009 was not very much of the former and barely the latter. Many complained about the failure of the film to match the merit of the original, while the standard anti-terror bias appears in spades. Naturally, I stand by my version of the facts. I enjoyed the movie from the moment it started and loved how Nispel maintained a serious, no nonsense tone throughout. Like the Dawn of the Dead remake, the Texas Chainsaw redux (also by Nispel), and Rob Zombie's tale of the hallowed Halloween, Friday the 13th is a new kind of modern macabre masterwork.

So the question is begged - how come I am so outside the majority view on this film - nay, the SUPER majority perception of this motion picture? Am I really that out of step, or is there something far more sinister and conspiratorial going on. Granted, I guarantee I see more horror movies per year than the average mainstream critic. Looking over the 300+ titles I took on for 2007-8, a good 17% (or about 50) followed the typical genre format. Some were wide release theatrical experiences - Quarantine, The Eye, The Strangers, etc. Others were independent efforts from unknown quantities, while more than a few - [REC] , Let the Right One In - were amazing foreign fare. But the sad fact is that, for every great experience in fear and dread, I spent many a night bored out of my skull. Let's face it - most horror films suck and suck hard.

This creates a sense of expected anticipation. As I have written about before, the very hit and miss nature of the category creates a kind of unfair if pragmatically warranted predetermination for critics. Most fright flicks are going to be bad, just as most so-called comedies are going to be lacking in the laugh department. Drama is more or less universal. What sends the shivers up your spine, or the jollies through your belly is a totally personal and subjective experience. Oddly enough, it's a lot like pornography. Some people won't even recognize XXX material as valid. It's a stance very similar to how some audiences view horror. As an emotional experience, being terrified is not considered pleasant or positive. For them, Jason and his haunted hockey mask might as well be Jenna Jameson and her lewd, loose virtues.

And it's not just among the masses. Most mainstream critics HATE horror films. I know from anecdotal experience. For them, a scary movie is the cinematic equivalent of a hair in your soup, a green-tinged potato chip in your bag of Ruffles, or a squawking brat at a public/press screening. They are things to be avoided, and if forced to confront them, superficially considered and then quickly cast aside. Since the genre doesn't have the greatest track record for consistent success, such a belief is simple workaday shorthand. It's an easy way to approach a review - expect the worst and be nonplused when your hunch is correct. After a while, the 400 to 600 words write themselves.

Now many have accused me of suffering from something quite the opposite. Since I see so many horror films, and find so many of them lacking, I apparently appear to latch onto the first thing that doesn't absolutely disappoint. That would explain my love of the aforementioned remakes. But the truth is that, because of such a vast perspective, I believe I have a keener eye than most on what works and what doesn't. A critic who sees two or three fright flicks a year has little to base their opinion on - especially the print person who doesn't seek out and pay for the latest movie macabre when a studio doesn't stand up and offer a free screening. The reciprocal nature of the treatment and the title is something the studio can blame itself for. If they really believed in a project, they'd put all bad word of mouth jitters aside and preview all of their movies, no matter the genre.

Fans are just as bad. Instead of broadening their scope and seeing more than one kind of horror offering, you've got your zombie-philes, your vampire addicts and your ghost geeks. There are audiences who would never ever favor a foreign fright film and visa versa. There are even those who dismiss the classic works of the past for being too tame and cinematically lightweight. Once again, such narrow-minded viewpoints can't offer a truly considered response. Instead, it has to be viewed like those with an already established anti-horror bias - their opinion is tainted by a tendency toward only appreciating one kind of dread. Naturally, a response could be made that a person proficient in slasher would be the best critic for this latest installment in the slice and dice dynamic. But without a wider view of everything the genre has to offer, any such statement would still be suspect.

Marcus Nispel has made an excellent example of the type. He doesn't offer up some goofy tongue-in-cheek charade or pretend to appreciate the seriousness of the subject. His Jason is brutal and animalistic and his treatment of the narrative is inventive and iconic. In essence, he delivered exactly what was expected. He doesn't turn Jason into an abused child looking for an FBI profile to fill out (as Zombie showed with Michael Myers) or an extension of George Romero's social commentary. Instead, he views the genre basics, breaks out the viciousness, and goes directly for the throat. Those who find this over the top or offensive haven't seen many horror films. The Hostel series (again, some very potent motion pictures) is far more cruel and craven. Besides, Nispel needs to stay within Sean Cunningham's original hack and slash objective. Had he turned this into some exploration of Jason's psyche, the devoted would be chomping at the Inter-nation bit.

Perhaps this is more of a mea culpa than anything else. I truly enjoyed Friday the 13th 2009 and have since paid to see it again. I await the arrival of the Unrated DVD, knowing that Nispel does not disappoint when it comes to digital packaging and added content. I do admit that my overexposure to crappy horror might make me more susceptible to something borderline good/bad, but I don’t think that applies here. I can see and argue the artistic qualities that Nispel brings to all his projects and the overall effectiveness of the film itself. If the original movie was merely 80 minutes of waiting until the wonderfully whacked out Betsy Palmer shows up to wreck her own brand of batshit vengeance, so be it. This movie is all bad-ass Betsy from beginning to end.

So brand me a crackhead or someone capable of only clouded critical judgment. Wonder out loud what it means that you agree with me on certain films but not on this particular bit of slasher superiority. Granted, Friday the 13th 2009 is not Suspiria, or The Exorcist, or Evil Dead 2: Dead by Dawn. No, it's a serviceable scary film with a bite and a bravura that's rare within the industry. Hate the movie all you want, but deconstructing the messenger because they disagree with your disapproval seems silly. This is all opinion after all, not assertion. There is a difference. History will bear out who is right and who is obviously influenced by their own particular point of view. For now, I'll play the outcast. It's not so bad - especially when you know you'll probably be proven right somewhere down the line.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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