Paramount tried to jazz up the Friday the 13th franchise by plopping Jason in the City That Never Sleeps, but the results nearly killed the series.
Category Archive: Filmmaker of the Month
Jason Voorhees came back with more teen drama and an even gorier look.
The Friday the 13th series chugs along with a straightforward but functional slasher with a hint of metahumor.
Jason (and the franchise) comes back from an ostensible conclusion to keep up the blood-splattering mayhem.
Frank Mancuso, Jr. and Paramount tried to give Jason Voorhees a killer sendoff, but the franchise didn’t stay dead.
A look at one of the more likably silly entries in the series, and the brief, inglorious return of 3D horror.
Sean S. Cunningham’s classic 1980 slasher kicked off the franchise with Kevin Bacon, Mama Voorhees, and a hell of a kill count.
The first film to feature the horror icon in person, 1981’s sequel marks the franchise’s sway from Giallo-inspired mystery to Jason-centric mayhem.
For the first film’s 40th anniversary, we hack and slash our way through the long, bloody saga of Jason Voorhees and his journeys from hell to Manhattan to space.
The latest Marvel film to date is more than a mid-sized follow up to Avengers: Endgame — it establishes Peter Parker as the beating heart of the new MCU.
Taika Waititi’s irreverent revamp of the Thor series, Thor: Ragnarok, manages to weave some much-needed criticism of imperialism among the gags.
The culmination of Marvel’s 11-year gameplan is a cinematic juggling act whose success is an unlikely achievement.
Ryan Coogler’s superhero film not only salvages the colonialist origins of the comic’s imagery, it reclaims them for a Black audience.
James Gunn’s interstellar hangout movie is weird and messy, but deeply, admiringly focused on its characters and an earnest emotional core.
Alien robots and evil Norse gods may prove a thrill to the multiplex, but here, they’re not much more intimidating than adolescence.
Building off the political intrigue of their first MCU entry, the Russo brothers further blended reality and fantasy in their second smash hit.
With production issues and a shift in the franchise’s creative team, Joss Whedon’s final MCU entry has just enough to work.
It’s not perfect, but the Russo brothers’ conspiracy-thriller take on the MCU turned its eye inward to the more explicitly political.