Really Awful Movies: Ep 196 – Friday the 13th (2009)

Jason Voorhees. The butcher of Camp Crystal Lake needs no introduction. Or does he? Perhaps to a new generation of audiences, who were unaware of the source material that is the original Friday the 13th movies.

Of course, now Jason is seemingly everywhere, what with the video game developed by IllFonic, and published by Gun Media.

And he’s been everywhere before too. This is the 12th film in the Jason oeuvre, if you include Freddy VS Jason (which we do).

And this is as different as our mute machete mate has ever been. Director Marcus Nispel took artistic license with the source material, making Jason Voorhees a kidnapper who was fleet-of-foot. And who actually has an underground lair, and quite an elaborate Xanadu too.

At the end of the day though, this is not a well-made movie. There are two spectacular kills, and a lot of killer filler. And the stupidity ante of these campers is OFF THE CHARTS. So, how does Derek Mears acquit himself as the Masked Maniac?

Pretty darn well. It’s the rest of the film that kinda blows. We’ll get into that on this week’s edition of the Really Awful Movies Podcast, Friday the 13th.

Really Awful Movies: Ep 195 – Don’t Torture a Duckling

Don’t Torture a Duckling (in mellifluous Italian: Non si sevizia un paperino) is a 1972 Italian giallo film directed by Lucio Fulci, starring Tomas Milian, Florinda Bolkan, and Barbara Bouchet. It is notable within Fulci’s filmography as it is one of the first in which he began using violent icky gore effects, something Fulci would continue to do in his later films, most notably Zombi 2The Beyond and City of the Living Dead. The soundtrack was composed by Riz Ortolani and features vocals by Italian pop stylist Ornella Vanoni.

Don’t Torture a Duckling focuses on a series of child murders that occur in a small, fictitious town in Southern Italy. Naturally, there are red herrings aplenty, and true to form, a journalist poking his nose around where it doesn’t belong. While there are some similarities with giallo films stylistically, this one tends to eschew some of the genre tropes, including urban center settings.

There is a boundless array of weirdness, and some really odd choices for set-pieces. It’s interesting to note just how varied Fulci’s work was before he set aside his other genre work and began to focus full-bore on horror.