by Patrick BromleyFuck Nazis.

When Becky was first released in 2020, it had a great hook -- angry young girl fights and violently kills a bunch of neo Nazis -- but seemed an unlikely candidate for a sequel, much less a trilogy. The movie's violent action was driven by 12-year old Becky's youthful rage over the untimely death of her mom (from cancer) and her parents divorce, and the central joke of the film was that skinheads shouldn't fuck with a kid with anger issues: Home Alone with higher stakes and some brutally comic gore. It never felt that it could be sustained beyond that movie's runtime, particularly because star Lulu Wilson would grow up and Becky would have to grow up along with her. It becomes less transgressive and the barb at the end of that particular hook would likely dull, right?Here we are in 2026, though, and the third movie in the franchise, the excellently-titled The Last Temptation of Becky, is hitting theaters. Picking up right where 2023's The Wrath of Becky left off -- Becky has been recruited by CIA agent Kate Montana (Kate Siegel) to become the youngest member of the organization ever -- Last Temptation finds our favorite Angry Teenager traveling to Poland to take out the Fourth Reich, a group of Nazis bent on world domination led by General Wilhelm Reuss, played Neil Patrick Harris and the latest in a line of comedy actors playing racist shitbag villains in the franchise, a tradition that previously included Kevin James and Seann William Scott. Reuss, his family, and his Nazi soldiers are conducting secret blood experiments involving the key from the first film (that movie's McGuffin) to bring back...well, I won't say, but anyone with a working knowledge of exploitation and mad scientist movies probably won't be too far off.
Calling the shots this time around is Jenn Wexler, a filmmaker who get her start as a producer at Larry Fessenden's Glass Eye Pix before making her feature directing debut with the 2018 punks-versus-psycho slasher The Ranger. Her participation in The Last Temptation of Becky is what had me most excited for the film, because I knew she could carry over some of The Ranger's anarchic spirit and bubbling rage -- the franchise is, after all, a direct response to the last 10 years of American politics, and Wexler isn't shy about taking things to their logical extreme. She mostly picks up where Wrath of Becky filmmakers Suzanne Coote and Matt Angel left off, infusing a more cartoonish, comic book style into the proceedings than the grittier first installment.
Using some of the same devices as the last film -- Becky VO, scribbled title cards -- Wexler gives her outing slightly more edge and attitude by openly acknowledging Becky as a blunt instrument of vengeful rage from the outset. There doesn't need to be an inciting incident or a kidnapped dog for her to spring into action. She acts because she hates Nazis and wants to fuck them up. That this is the first film in the Becky franchise with only one director at the helm -- a woman, no less -- is not lost on me. Last Temptation doesn't do much to get into Becky's psychology, and yet it does more to communicate her headspace and worldview than the first two entries. Having watched and/or rewatched all three Becky movies in the span of a week, I'm comfortable saying that they live or die on few things. First, the villains. Taking a page from the Indiana Jones playbook, the filmmakers have always been clever in making the bad guys in the series racist, hateful pieces of shit. Watching them brutally taken out is so much more enjoyable that way. Sure, Neil Patrick Harris is stunt casting as the American-born leader of the Fourth Reich, but he clearly relishes making Reuss a sniveling, cartoonishly evil monster whose loyalty to the "cause" supersedes even that of his own family. If anything, Harris doesn't get enough screen time. There are simply too many Nazis to kill. Second is the violence, as there is something joyously cathartic about watching evil racists get splattered around like bags of blood at the hands of a teenage girl. Because Wexler's background is in horror, she knows how to stage a gore gag for maximum impact, sometimes even letting it go longer than our movie clocks might dictate in order to really drive home a satisfying kill.Lastly, and most importantly, is the performance of Lulu Wilson as the titular Becky. While the title of the film and its premise suggest this is Wilson's No Time to Die, it's neither a mournful elegy nor victory lap. Yes, the scale and scope are considerably bigger and Last Temptation builds on everything that came before -- those entering the franchise with the third installment may find themselves lost when it comes to certain plot or character details -- but it's really another opportunity to watch Wilson absolutely eat up the chance to be an angry action hero. Becky may be the role with which we most associate Wilson for a long time to come, such is her commitment to the character. In short, she rules. I was nervous that having Becky join the CIA would neuter her, sanding off her rough edges (she's all rough edges), but Wexler and Wilson wisely wield the character's new position as a means of better access, not conformity. She can simply go after bigger and badder villains now, usually by way of Plan C.
I can't recommend The Last Temptation of Becky as an entry point into the unlikely Becky franchise, but if you've been a fan of these movies as I have, there's lots to love in this third and latest installment. Critics may complain that it offers more of the same, while fans of the series like myself will champion the fact that it offers more of the same. Lulu Wilson hasn't missed a step as America's favorite Homicidal Teen and Jenn Wexler fits right into the franchise, demonstrating she can do bigger and bloodier action than she's previously done on screen. If this truly is the last Becky movie, it's a fitting conclusion. If there are more to be made, I'll be there opening day. 

 by Rob DiCristino

Goodbye, #ScaryMovieMonth! Hello, Awards Season!

Kane Parsons’ Backrooms may have codified “liminal spaces” as 2026’s buzziest internet term — replacing “aesthetic” and “lore” from recent years — but perhaps no filmmaker understands the true psycho-spiritual weight of liminal spaces like Irish auteur Martin McDonagh, whose work often explores the existential purgatory between the sins of our past and the uncertainties of our future. Completing a loose “Sad Boys in Beautiful Places” trilogy that began with In Bruges and The Banshees of Inisherin, McDonagh elevates this tried-and-true formula by setting his newest film, Wild Horse Nine, against the CIA-backed military coup that took place in Chile in the fall of 1973. When Agency chief MJ (Steve Buscemi) sends veteran operatives Chris Carlisle (John Malkovich) and Lee Chesterfield (Sam Rockwell) to oversee the removal of Marxist Salvador Allende, he has no idea that their celebratory jaunt to nearby Easter Island is actually the last stop in Chris’ retirement tour: He has terminal cancer, we learn, and he’s running out of time to atone for his sins.Played with Malkovich’s characteristic blend of beleaguered exasperation and pig-in-shit glee, Chris has spent the better part of his career engineering the twentieth century’s greatest atrocities: Long before he conspired to depose Allende, he watched the execution of Congolese Prime Minister Patrice Lumumba and — though he’d rather not talk too much about this in mixed company — may have been somewhere in Dallas on November 22nd, 1963. Despite these and countless other unspeakable acts on his ledger, though, Chris isn’t the nationalist attack dog his behavior would suggest. Rather, he treats the political chaos he’s created as a fait accompli, the inevitable byproduct of interactions between flawed, selfish, misguided human beings. There’s a jaded banality to the war stories he tells Lee — his longtime partner-turned-end-of-life caregiver — a foul air, more than anything else, of disappointment. In the end, Chris laments, toppling even the greatest civilizations really requires little more than handing some guy a rifle and watching while he pulls the trigger.

This is all trying news for Lee, a middle-aged buttonman teetering on the edge of divorce (from Parker Posey’s Marge) and desperate to handle his job with a degree of inalienable emotional distance. Chris’ plan to commit suicide — which MJ tasks Lee with delaying until they’re positive Chris hasn’t squirreled away any incriminating artifacts from Dallas — complicates Lee’s ability to keep that distance, to remain detached from the political fervor of leftist activists like Monica (Mariana di Girolamo) and Alicia (Ailín Salas), whom Chris advises to get the hell out of Santiago before the shit hits the fan. Drop the idealism, he tells the awestruck young women; abandon your principles and think for yourself. It may sound like easy cynicism, but it’s not that simple. No, in classic McDonagh fashion, Chris’ frustration with his fellow man has evolved into a dogged insistence on a higher authority. It’s not quite religion — McDonagh isn’t so cruel as to moralize like that — but a newfound focus on the simple things: Good cheese, for example, and the “big heads” of Easter Island.Longtime McDonagh loyalists will feel right at home with this sort of absurdist fixation on left-handed thoughts — “Will there be dinosaurs in heaven? Because they’re not all bad, right? Didn’t they have vegetarian dinosaurs?” — and while it’s easy to dismiss these musings as Sorkin-esque crutches that prevent a writer from reaching their full potential (not to mention the fact that it’s all a little lighthearted in the face of real-world events; Chris isn’t some jamoke assassin, after all; he’s personally responsible for thousands of deaths and the moral corruption of the greatest democracy in the history of the world), there’s an argument to be made that Wild Horse Nine’s generally tossed-off sensibilities actually underline the profundity of Chris’ worldview. He and Lee kill people for a living. They destabilize governments and destroy the grand designs of men and women who’ve devoted themselves to causes they can neither understand nor appreciate. Who but they should be forced to fixate on all the essential nuts and bolts of our pointless existence?Wild Horse Nine’s plottier second half will undercut some of these lofty thoughts — Marge’s kidnapping, MJ’s hunt for the Dallas rifle; it feels a little perfunctory when we know that the end goal is to let Chris die in peace — and McDonagh offers few solutions to the impossible contradictions of our society on which he asks us to ruminate. What matters, though, as in In Bruges and Banshees of Inisherin, is that we’re ruminating on them together. What matters is that Malkovich and Rockwell give career-best performances and that McDonagh sets them against some of the most striking locales we’ve seen this year short of The Odyssey. It may be true that Wild Horse Nine asks us to sympathize with vicious, immoral instruments of an unfeeling state. But after watching it twice, it mostly just reminds me of Kurt Vonnegut and his envelope: The American author once went out to buy a single envelope. He didn’t need to, but he wanted to see the babies. And the fire trucks. He wanted to fart around. Despite our self-aggrandizing aspirations, that’s all we’re really here for: To fart around.

Wild Horse Nine hits select U.S. theaters on Friday, November 6th.

 by Adam Riske

My thoughts on The Leopard Man, The Fly (1958), Teenage Sex and Death at Camp Miasma and more!

Like pretty much every year, I had a ticket to the Music Box of Horrors marathon at the Music Box Theatre this past weekend, but I opted not to go and did my own Scary Movie Month marathon from the comforts of home. The Music Box does a great job with their annual marathons, but in the past couple of years I’m becoming more of a homebody as to where I prefer to watch movies. I like not being cramped, being able to pause and put on subtitles, take long breaks, etc. The Music Box of Horrors is the ultimate horror party, but after the month I’ve been having so far, I needed something more chill.

I programmed an entire 24-hour marathon that would run from Saturday at 11am to Sunday at 11am knowing full well I wouldn’t make it the entire time, but part of the fun was just programming it and seeing how far I could get. I planned a lineup of 13 movies and made it through five of them on Saturday and picked up another two on Sunday. But first, here are the ones on the list that I didn’t get to: The Sixth Sense, The Crow (1994), The Fury (which would’ve been a first-time watch, I’ll get to it before October ends), Snoop Dogg’s Hood of Horror (another first-time watch), Hannibal, and An American Werewolf in London.

Here’s what I watched - in order of my least favorite to favorite:

7) Hideaway
• Letterboxd Rating and Review: 1.5 stars. This movie’s become a running joke for me over the years, which is too bad because it makes me forget how boring it is until it’s too late and I’m rewatching it again. It also has one of the silliest post-credits scenes ever.
• 7 Word Review: We all remember when Hatch battled Vassago

6) Pet Sematary Two• Letterboxd Rating and Review: 2 stars. It’s not bad, exactly, but it’s so unpleasant and nihilistic even by horror movie standards.
• 7 Word Review: Apparently haven’t outgrown my Jared Rushton phobia

5) Teenage Sex and Death at Camp Miasma (First-Time Watch)

• Letterboxd Rating and Review: 3 stars. I definitely needed to read about the movie after watching it (i.e. I didn’t totally get it) so that kept me slightly at a distance, but it was very well-made and had some memorable sequences.
• 7 Word Review: Brb gotta order Counting Crows Greatest Hits

4) The Leopard Man (First-Time Watch)

• Letterboxd Rating and Review: 3.5 Stars. It’s impressive how good this movie is considering how most of the characters are complete dolts. One of my favorite Val Lewton movies.
• 7 Word Review: Why I’ll stop late night cornmeal runs

3) Spider Baby

• Letterboxd Rating and Review: 3.5 stars. Fun, weird, Addams Family/Munsters/House of 1000 Corpses type mash-up. Great opening credits song and performances.
• 7 Word Review: Gold medal qualifier in “Still Would!” Olympics

2) Ghostbusters II

• Letterboxd Rating and Review: 4 stars. It might just be kid nostalgia, but I love this movie. It’s not as good as the original, of course, but it’s so entertaining and looks better and better with every newer, lamer modern era Ghostbusters movie.
• 7 Word Review: I dunno this movie makes me happy

1) The Fly (1958) (First-Time Watch)• Letterboxd Rating and Review: 4 stars. It’s pretty awesome. Great looking, an always terrific Vincent Price, silly and fun but also a little creepy towards the end, and pretty weird for something from the late '50s. Both this and the 1986 remake kick ass.
• 7 Word Review: Why can’t all movies look this good?

To keep my energy up between movies I made some phone calls, went out on my balcony (and saw some ladybugs, which is both good luck but also not the best because it meant I had to keep my screen door closed so they didn’t get inside), took a couple of walks, and had a lot of marathon-appropriate food like fun-size Kit Kat and Hershey bars and Reese’s Pieces, popcorn, pizza, water, etc.

I also watched a lot of horror trailers courtesy of a 35mm Horror Trailers playlist I found on YouTube which I set on shuffle. The trailers that played were – Deadly Friend, Aliens, Final Destination 3, The Amityville Horror (2005), Jaws, Halloween (1978), Nightmare on Elm Street 2: Freddy’s Revenge, Vamp, The Fly II, Creepshow, The Thing (1982), Friday the 13th-Part V: A New Beginning, Terror-Vision, Audrey Rose, Misery, Evil Dead II, Jaws: The Revenge, Child’s Play 2, Christine, Friday the 13th Part II, Motel Hell, Altered States, Friday the 13th-Part VI: Jason Lives, The Return of the Living Dead, Pet Sematary (1989), My Bloody Valentine, Alligator, The Village, Nightmare, Nightbreed, The Guardian (1990), and Jacob’s Ladder (1990).

It was a fun experience and I’m hoping one day I’ll figure out how to crack the full 24-hours at home. For this year, though, I’m happy with myself for tapping out when I felt like it and not ruin my Sunday and early workweek just to grind out the marathon.
How about you? Do you do 24-hour marathons at home during Scary Movie Month? How do you pick out what you want to watch and where to schedule it? Any tips for how to stay awake and keep your energy up? What’s your opinion of the movies I watched?

It's the annual franchise show and Patrick and Mike go a little mad sometimes.


Download this episode here.
Listen to F This Movie! on Apple Podcasts.
Also discussed this episode: Body Snatchers (1993), Evil Dead Burn (2026), The Exorcist (1973), Open Water (2000), Doppelganger (1993), Dark Hollow (2026), The Cycle (2026)

 by JB

With hundreds of films at my fingertips, which ones will not make the cut this October?

With any luck at all, you, gentle readers, are now thoroughly enmeshed in Scary Movie Month. Oh, look! We can see the finish line of Halloween Night just peeking out from under the horizon. As I survey my Goober Domain from the vaunted viewpoint of my IKEA desk, I notice horror movies on the shelf that sit ignored year after year. WHY do I never get around to watching them? WHEN will I finally get around to watching them? HOW is it that feature films can be actually watched in the home?

WHAT is reality?

I Drink Your Blood (1971)I can still remember being semi-obsessed with this title when I first read about it in the seminal Psychotronic Encyclopedia of Film in 1983. Michael Weldon wrote that book and also published the zine Psychotronic Video; he managed to put out 41 issues of that one-of-a-kind wonder in 18 years. Between Weldon’s zine, Tim Lucas’s mega-magazine Video Watchdog, and Danny Peary’s Cult Movies books, genre films were suddenly getting a lot of attention and “respect.”

I cannot remember where I purchased this Special Edition DVD of the film or the circumstances of that purchase. It is from boutique video label Box Office Spectaculars. It is a numbered limited edition (427/500) that was released in 2002. It contains a postcard signed by co-star Lynn Lowry and a reversible sleeve signed by Lowry, director David Dunston, and co-stars Jack Damon and noted character actor Bhaskar Roy Chowdhury, who plays Horace Bones.

Hmmmm...

Why am I never in the mood to watch this? According to the Wikipedia machine, it involves “reports of an incident in a mountain village in Iran in which a pack of rabid wolves attacked a schoolhouse, infecting people with rabies. Further inspiration came from coverage of the trial of the Manson family.” Sounds like a Scary Movie Month no-brainer. Perhaps it’s my life-long, near-pathological fear of rabies? I will say this film inspired one of my favorite Halloween songs, “I Drink Your Blood, I Eat Your Skin” by the Exotic Ones. (I Drink Your Blood was often paired with Del Tenny’s 1971 I Eat Your Skin on theatrical double bills.) Listen for yourselves:



All The President’s Men (1976) 
Not a conventional horror film.

Man of a Thousand Faces (1957)

Like many horror and horror-adjacent films, this is a better idea for a movie than a movie. James Cagney stars in this biopic of Lon Chaney and, as tantalizing a notion as that might seem, there are two big problems: the producers deemed Chaney’s real story “not movie friendly,” so they made up a bunch of hooey about Chaney’s first wife. This is NOT what I come to “The Lon Chaney Story" for: warmed-over, mediocre soap opera.

Second, Cagney and Chaney HAD DIFFERENT FACES. (Chaney’s was an elongated oval, Cagney’s a perfect circle.) The filmmakers needed to modify all of Chaney’s famous make-ups for Cagney’s face; they wind up looking like dime-store masks. This is a big problem in a movie about a man famous for his unique and amazing make-up designs. Boo. (That same year, Paramount did the same thing to Buster Keaton with the movie The Buster Keaton Story.)Masque of the Red Death (1964)

I first saw this during the Music Box Massacre 24-hour horror marathon at the happiest place on Earth. (TRIVIA NOTE: As I write these words, this year’s Massacre, now called “The Music Box of Horrors,” has just ended in Chicago. Hundreds of scary movie lovers are currently heading home, tired and smelly.)

True, Masque of the Red Death is one of the best of the Corman/Poe cycle, BUT... my beloved son saw this just last Friday at the Vista Theater in Hollywood... and I don’t want to be accused of being a copycat.

The Mole People (1956)

I love Universal Horror Films more than anyone else on Earth—but by God, this late entry in the cycle is hard to sit through. We are faced with weak leads John Agar and Hugh Beaumont, back when the Beaver was just a twinkle in his eye; a monster that’s a half-step above a rubber mask; an uninspired script by Laszlo Goric; and pedestrian direction by Virgil Vogel. By this time in the 1950s at Universal, the parade had gone by. Creature from the Black Lagoon had been released a loooooooong three years earlier. NOTE: The Universal disc also includes the MST3K version; maybe I’ll waste 78 minutes on that...

Orgy of the Dead (1965)

Famous nudie-cutie written by Ed Wood on an off day, this film has everything: television psychic Criswell as narrator, Bob and Shirley (William Bates and Pat Barrington) arguing all the way to a cemetery, strippers used to teach moral lessons, plus a Wolf Man and a Mummy! The script is so confusing and the direction is so listless that this is the rare nudie film that 1) turns nudity into something you really don’t want to see and 2) might convince some heterosexuals that they have made the wrong choice in life. Your mileage may vary. My Blu-ray disc from Vinegar Syndrome came with a slipcase!The Playgirls and the Vampire (1960)

I purchased this at Son of Monsterpalooza a few years back, and though I have always been a fan of what the disc sleeve calls “erotically-minded Italian gothic horror” (also the theme of my wedding day), the disc sits on my shelf gathering erotically-charged dust. Maybe next year...Screaming Skull (1958)

I remember being perpetually frustrated with this title. Because it was never officially registered for copyright, it fell into the public domain and film fans were treated to physical media versions of the film that were little more than washed-out, cut-up, near-bootleg garbage, sourced from 16mm and transferred to VHS by cinephile squirrels in a hollow tree. It was the worst. Then, Shout Factory put out a dandy-looking Blu-ray in 2017. Problem solved!

Not quite. Because I had suffered for more than twenty years trying to watch this film, the bad juju associated with its former iterations gave me a case of Screaming Skull-o-phobia. I simply could not bring myself to spin the new disc. I was afraid. I was very afraid.

Turns out, I should have been more afraid of the film itself. According to the Wikipedias, the critics rave: “Erick Harper of DVD Verdict [said] the film was ‘of questionable value’ and opined it was ‘a truly awful example of drive-in cinema.’ He believed that the film was not ‘worth the time to watch.’ Leonard Maltin gave the film one and a half stars, calling it ‘dreary.’ [....] Film historian Steven H. Scheuer graded the film one and a half stars, writing ‘Wife is terrorized by unexplainable happenings. Or is it inexplicable? Both describe the film.’ Actress Peggy Webber, who appears in the film, did not like it, stating, ‘it didn't impress me’ and she ‘wanted to throw up’ after watching it."

The Searchers (1956)Again, NOT a conventional horror film. Why do you keep suggesting it?

The Terror (1963)

A quickie low-budget Roger Corman film that stars Boris Karloff and a young Jack Nicholson. Should be a no-brainer, and yet it sits unwatched. What fateful catalyst will release this disc from its plastic tomb? No living man knows.

What are YOUR "meh, not this year" SMM films? Comment below!

by Patrick Bromley
With Crystal Lake taking over the horror conversation these days, here's everything you need to celebrate the life and death of a very special boy, as well as the occasional paramedic.

It's no secret that I love the Friday the 13th series. It's my series of choice as horror franchises go because it's the most consistent -- unlike the Halloween and Nightmare on Elm Street franchises, Friday the 13th wasn't very good to begin with and had nowhere to go but up. I could watch these movies any day, any time, so it's great to have a day like today that doesn't just allow for that -- it demands it. And because I enjoy talking about these movies, there's been a good deal of coverage about them here at F This Movie!. Here are some of the pieces we've published on the franchise. Enjoy!
So Why Friday the 13th?A reader and journalist by the name of Dylan Scott once asked that I explain my love for the Friday the 13th franchise. This was my long-winded, rambling, incoherent answer. It's as close as I've ever gotten to codifying what these movies mean to me.

Podcast: The Friday the 13th Franchise
In 2013, Mike and I ended Scary Movie Month with our annual horror franchise podcast covering all of the Friday the 13th movies. This is one of my favorite shows we've ever recorded, mostly because I love talking about these movies with Mike, who loves and appreciates them as much as I do. I also love it because this is the show where you can pretty much hear me fall in love with A New Beginning, an affection that has only grown in the years since we recorded this episode. Most importantly, this is the episode in which Mike unequivocally states that Friday the 13th Part VII: The New Blood is his favorite entry in the franchise, a claim he has denied making ever since. Listen for yourself. He says that shit for sure.
Revisiting the Friday the 13th FranchiseMike and I revisited the series for our annual franchise podcast during the COVID outbreak of 2020, shortly after it was released as one massive, all-encompassing Blu-ray set by Scream Factory. Our rankings changed but our general feelings toward the series had only grown warmer in the years between the two shows.
Podcast: Friday the 13th Part 3 Commentary (in 3D!)
Our second annual SMM commentary! We watched the movie in 3D, which is why you'll hear us regularly scream at something flying out of the screen. I love this movie and I loved doing this commentary. If this is the Friday you revisit this month, please enjoy it with us talking over everything. The dialogue's not that important anyway. It's worth listening alone for Doug's impression of Jason as Frankenstein's Monster.

13 Great Moments from the Friday the 13th Franchise
Mike gave me the idea for this list during #Junesploitation, and I'm glad he did. Some of these picks are legit highlights of the series; others are moments that I love on a personal level. RIP Joey.

Shitting on the Classics: Friday the 13th
Early in the days of F This Movie!, JB wrote a weekly column in which he took a respected or beloved movie and explained why it's actually bad. Few movies were treated with more distaste or venom than the original Friday, which JB continues to detest to this day. The column is scathing and very funny.

Take Two: Jason X
For a time, this was one of my least favorite entries in the series. I was wrong about that. Most Take Two columns have only served to reaffirm my positions on movies in the past, but this is one of the few in which I do a real turnaround, appreciating the movie for what it ends up being (goofy and fun) instead of what I thought it should have been when it opened in the post-Scream early 2000s. No, it's not the movie Todd Farmer wanted made, but I still can have a good time with it.
2K Replay: Jason XAdam Riske says it better than I ever could. What was once one of his favorite entries in the franchise ceases to be upon later viewing.
My Favorite Friday the 13th CharactersBack in 2018, I put the spotlight on some of my favorite characters from the series. I know "characters" and Friday the 13th seems like a contradiction, but I swear there are people and performances from this franchise for which I have a lot of affection. It's a big part of what makes the movies so rewatchable.
Great Horror Performances: Kane Hodder as Jason Voorhees
We used to run a series highlighting some of our favorite performances in the horror genre. In 2014, Heath Holland picked Kane Hodder's run as masked slasher Jason Voorhees, pointing out not just that Hodder played Jason the most times but that his size and physicality came to define what we picture when we think of Jason. Kane Hodder is Jason.

Heath Holland On...My Heroes Have Always Been Slashers
Heath Holland wrote a great piece about his love of the slasher genre back in 2013. It's good to remember why the genre matters.

How I Learned to Love the Slasher
Heath's article obviously made such an impact on me that I unwittingly wrote pretty much the same piece a year later. After you read why he loves slasher movies, you can read why I do. Or you can read his twice.

My Favorite Final Girls
Yes, Friday the 13th Part 2's Ginny makes an appearance. I'm not a monster.

Growing Up Nerdy: Mike and Adam Go to Camp
Back when Mike and Adam Thas were writing their weekly Growing Up Nerdy advice column (RIP), they wrote this in-depth description of what it would be like attending Camp F This Movie! to celebrate Friday the 13th during #Junesploitation 2014. I like it because they make fun of me constantly. I can take a joke. You'll notice the column no longer runs.

Tommy Jarvis and Great Monster Kids in Movies
Only a monster kid can kill Jason.

Break out the strip Monopoly, magic underwear, and chocolate bars and celebrate #ScaryMovieMonth in style.