Friday the 13th VIII: Jason Takes Manhattan

[Lazario]

Did I explain Jason's appearence in the dancehall? I remember only explaining what he did when he was there. I don't give a crud about "teleportation," that's for sci-fi films. In this movie, it was merely done in a psychological way to make the characters freak out. I don't care how he got there. It's what he did once he got there that makes a difference to me.

It probably wasn't fair the way the movie did it. Especially to the character. But either way, the scene still works very well, regardless. And you did ignore what I said- because I'm saying this isn't a matter of Teleportation, nor is this scene bound by rules of "Jason must use a weapon to kill her." Why would you even insist it is? Don't you think the movie has the right to decide for itself what it does?


I already said I firmly believe a movie has the right to make its own rules for itself. No one owns The Movie Rules to Teleportation. It's also a Story Concept that I believe writers are allowed to do their own interpretation of it.

Besides, it's not like it was like a Rock Concert or Star Trek special effect anyway. He didn't leave behind vapor and smoke, or blast off or anything. The director's choice to do this wasn't that far out.

[GL]

This is actually something that needs to be done the proper way:

www.jabootu.com/glossary.htm

There's a way it has to be done, and by incorporating it into the story, it has to be a specific way. This is a clear-cut method, and it doesn't use it right.

[Lazario]

gl said:

There's a way it has to be done, and by incorporating it into the story, it has to be a specific way. This is a clear-cut method, and it doesn't use it right.

That's silly.
A movie can decide for itself what it wants to do - and that's final.

[GL]

I can't let that go.

It's done according to the rules of the property it's invoking, and this one doesn't do it right. There.

[Lazario]

gl said:

I can't let that go. It's done according to the rules of the property it's invoking, and this one doesn't do it right.

This is not an issue of property - because no one owns Teleportation. Therefore, the movie can do whatever it wants to. That will not change no matter how many tongues you stick out. There.

[GL]

Yes it is. Click the link I gave in the thread. The specific property that the scene uses is governed by the fact that it breaks the invocation of the rule. Using it the proper way wouldn't be bad, but it doesn't do it right.

[Lazario]

Okay... Let's break this down Bit by Bit:


1. Who in your opinion owns the Rules of Teleportation?

2. Who in your opinion is allowed to make movies?

[HNT]

Who cares, gentlemen? It was an unecessary and weak entry in an overall weak slasher series. PLay nice. BTW, if I had to pick a side on this it would be GL's. THe film is terribly silly and cluncky in parts

[Lazario]

I don't agree. The movie rules.

[GL]

1. The rule is governed by the fact that it's made a slasher film. It's a rule set in stone that, upon the decision to make it such, it includes this very function. Every single one, from the giallo forefathers all the way to Carpenter, Cunningham and every single one of the original slashers that came on from the scene in the early 80s, it's done that way. This one does it and does it badly.

2. How is that relevant?

Perhaps this should be helpful: I'm not mindful that it occurs, I'm just calling it on the fact that we get the pan over the room before he shows up. He deliberately teleports in to deliver the lame kill, but if we don't see the room before, I wouldn't have a problem because all the film have this. This one breaks it by showing her safe in the room, then bam, he's there for no reason. That's my beef, and had it been changed to fit better the rule, I'd be fine with the scene.

[Lazario]

gl said:

1. The rule is governed by the fact that it's made a slasher film. It's a rule set in stone that, upon the decision to make it such, it includes this very function. Every single one, from the giallo forefathers all the way to Carpenter, Cunningham and every single one of the original slashers that came on from the scene in the early 80s, it's done that way. This one does it and does it badly.

There is no Rule on how to make a slasher movie. I'm sorry you think there is. But there is not. Filmmakers can decide for themselves what they want to do.

[7]

I may be the part of the dissenting opinion - but I hate. . . hate. . . HATE! this movie.

I can't honestly think of a saving grace about it - poorly paced, poorly acted, teleportation, annoying characters. Oh, and the cock-tease of having a Friday flick in NYC - when in reality its a Friday flick on a boat.

Christ, this movie felt like it was 4 hours long.

[Lazario]

seventhseal17 said:

I can't honestly think of a saving grace about it - poorly paced

The pacing is one of the reasons I love the movie.

seventhseal17 said:

poorly acted

Who do you think gave a bad performance?

seventhseal17 said:

Oh, and the cock-tease of having a Friday flick in NYC - when in reality its a Friday flick on a boat.

That feels very petty and shallow to me. If you focus so much on the surface, how can you ever like what's inside?

[7]

This is a slasher, what's on the surface is the film. This isn't Friedrich Nietzsche Takes Manhattan.

All the acting was amateurish - granted they only served as cannon-fodder anyhow, but still.

[GL]

lazario said:

gl said:

1. The rule is governed by the fact that it's made a slasher film. It's a rule set in stone that, upon the decision to make it such, it includes this very function. Every single one, from the giallo forefathers all the way to Carpenter, Cunningham and every single one of the original slashers that came on from the scene in the early 80s, it's done that way. This one does it and does it badly.

There is no Rule on how to make a slasher movie. I'm sorry you think there is. But there is not. Filmmakers can decide for themselves what they want to do.

Then you have no knowledge about the genre in general. They're ruled by the absurd, and that scene is the shining example. Look at just about any other entry in the series, take note of how the killer appears in the scene to deliver the kill and try to rationalize how he got there other than teleporting in. Some hide it better, but there's at least one in every film.