Friday the 13th Movie Marathons Take over L.A. Screens
Horror films are big business. Shudder and Screambox are streaming monster movies 24 hours a day. The Alien, Saw, and It franchises have all grossed more than a billion dollars, and Universal just spent $7 billion on their new Florida theme park where Frankenstein, Dracula the Wolf Man reign over their 'Dark Universe.' Freddy Krueger, Michael Myers and Jason Voorhees were the big horror baddies of the 1980s and continue to haunt the world, at least at Halloween, but only Jason gets two holidays to celebrate. This year, the only one Friday that falls on the 13th is tonight and old hockey mask is making himself known around L.A. with eight venues pulling out all the stops for the murderer from Camp Crystal Lake on his 45th anniversary. Encino producer Sean S. Cunningham got an MFA from Stanford and worked for Lincoln Center and the Oregon Shakespeare Festival before releasing his first Friday the 13th film in 1980. The franchise has currently clocked twelve feature films, a TV series, books, video games and boatloads of merchandise. Cruise around Magnolia Boulevard in Burbank and you'll find store after store filled slasherabilia and horror collectibles. Today's Jason-fest sprawls out from art house cinemas to an esteemed museum to that funky revival house in Gardena. Hardcore fanatics can bunker down at the Frida Cinema, which is screening ten of the films in a two-day marathon. For those who just can't get enough Karo syrup-soaked teenagers, Vidiots has added a late-night screening of Dude Bro Party Massacre III. Be sure to check with venues in the curfew zone for the latest updates.
(1980)Alamo Drafthouse DTLAVidiotsFrida CinemaRooftop Cinema Club DTLAAutry MuseumArt Theatre Long Beach
(1981)
Frida Cinema
(1982)
Frida Cinema
(1984)
Frida Cinema
(1988)
New Beverly Cinema
(1989)
New Beverly Cinema
(1993)
Gardena Cinema
This story was originally reported by L.A. Mag on Jun 13, 2025, where it first appeared.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
3 hours ago
- Yahoo
Alien: Earth Season 1 Soundtrack: A Guide to Every Needle Drop
The post Alien: Earth Season 1 Soundtrack: A Guide to Every Needle Drop appeared first on Consequence. The Alien franchise has a rich musical legacy, with acclaimed composers including Jerry Goldsmith and James Horner working on the earlier films, but the franchise has never been known for its needle drops. There's a good reason for that, as the movies are set in a far-flung future in the depths of space: Not only can no one hear you scream, but no one can hear the latest chart-topping hits. The new FX series Alien: Earth, though, takes a different approach. Created by Noah Hawley, Alien: Earth stars a large ensemble cast coping with the unexpected fallout of a spaceship crash on the titular planet — a crash that brings the horrors of this universe a lot closer to home. And while the show takes place in the year 2120, its terrestrial setting means that there's a lot more room for a wide range of actual songs on the soundtrack. Unlike, say, the famously score-free The Bear, Alien: Earth does have Jeff Russo on board as composer, who in addition to collaborating with Hawley on Fargo and Legion also provided the music for series including Ripley, Star Trek: Discovery, and For All Mankind. His excellent score, available now, is packed with powerful themes. Yet in addition, the songs shepherded to the screen by music supervisor Maggie Phillips represent some fascinating choices. Thus, Consequence will update this post each week, as we get drawn deeper into the show's existential (and not-so-existential) terrors. [Editor's note: The following contains mild spoilers through Alien: Earth, Season 1 Episode 3, 'Metamorphosis.'] Episode 1: 'Neverland' Alien: Earth (FX) Nina Simone — 'Don't Let Me Be Misunderstood' TV on the Radio — 'Killer Crane' Lord Afrixana – 'No Dey Tire' Black Sabbath — 'The Mob Rules' (end credits) Our introduction to the year 2120 features both diegetic and non-diegetic music — diegetic music being songs that characters are listening to on screen, like that classic Nina Simone track which plays as Karen Aldridge's scientist character works in the lab on board the doomed USCSS Maginot. Non-diegetic music, meanwhile, is music that just plays as part of the soundtrack, such as the TV on the Radio tune heard as newly-transformed Marcy/Wendy (Sydney Chandler) gazes out at her island home. The choice of TV on the Radio's 'Killer Crane' actually packs a deeper meaning in these circumstances — the song is about the band coming to terms with bassist Gerard Smith's terminal lung cancer (he died nine days after the release of their 2011 album, Nine Types of Light). It's a light, life-affirming track about mortality, which ends up serving as a haunting introduction to this new hybrid 'forever girl.' In addition, Lord Afrixana provides the song heard as we watch Hermit (Alex Lawther) make his way home after a long day. And over the episode's closing credits, we have Black Sabbath's title track from their 1981 album — The Mob Rules was the Dio era, not the Ozzy era, in case you were wondering. Outside of the world of music (though still very important to the show) is a movie that the show chooses to feature prominently even though it's over a century old for these characters: The animated flick that Hermit remembers watching with his kid sister isn't any Ice Age movie — it's specifically 2012's Ice Age 4: Continental Drift. Perhaps not a movie that's been heralded as a modern classic in this century, but the 'Face my fury' bit is pretty cute. As for the ethereal/horrifying cover of Cream's 'Strange Brew' that serves as a musical stinger at the beginning of each Alien: Earth episode, Consequence has confirmed that it's an original track created by Russo, with Hawley himself performing the vocals. More about that soon. Episode 2: 'Mr. October' Alien: Earth (FX) Alien: Earth Cast — 'Ac-Cent-Tchu-Ate the Positive' Tool — 'Stinkfist' (end credits) In comparison to the first episode, there are fewer needle drops to focus on here, with Russo's score doing the heavy lifting. There's some faint music heard in the background when Hermit and a Prodigy soldier try to evacuate a fancy dress party, but it's not playing loudly enough to be identified (especially after the Xenomorph crashes the festivities). Additionally, we can't forget the sweet sound of Reggie Jackson's Game 6 homer in the 1977 World Series, but that was hardly a chart-topper musically. So the biggest moments to focus on here are Hermit's fuzzy childhood memories of his family singing the song 'Ac-Cent-Tchu-Ate the Positive,' which dates back to 1944 and has been recorded by countless artists since. (We could perhaps credit this rendition in part to creator Noah Hawley, who cameos as Hermit and Wendy's now-deceased father.) Additionally, there's Tool's 'Stinkfist' as the closing credits track — a song with a notorious music video and a complicated history with MTV, as VJs weren't allowed to say the title on air. The song's subject matter isn't exactly subtle ('Finger deep within the borderline' being a sample lyric) but the message gets across. Episode 3: 'Metamorphosis' Alien: Earth (FX) Berg — 'Bayaka' Metallica — 'Wherever I May Roam' (end credits) Russo's score dominates this episode — the standout track might be 'Procession,' which accompanies the Prodigy team as they leave the city and return to their island hideaway. Yet we still get some additional music cues. Well, in the case of the first, it's really just a snippet of music heard in the background as we see Morrow (Babou Ceesay) exit a club that may not be explicitly an S&M sex dungeon, but does feature a lot of chains and people getting close to one another. Berg is an Israeli producer known for progressive trance music — you can listen to 'Bayaka' in full here. Also, in additional pop culture references, the movie that Slightly (Adarsh Gourav) is watching when Morrow 'calls' him is the 2013 20th Century Fox animated feature Epic. (A bit of a random choice, though the Disney/Fox merger in 2019 means that Epic is part of the same corporate ecosystem as Alien: Earth, easing the way towards its inclusion.) And the end credits track this week, which begins as Wendy finds herself overwhelmed by her connection to the alien entities now being studied in the Prodigy lab, is courtesy of Metallica's fifth self-titled album. Music supervisor Maggie Phillips tells Consequence that the choice of 'Wherever I May Roam' is 'a little bit tongue in cheek,' given lyrics like 'I adapt to the unknown/ Under wandering stars I've grown/ By myself but not alone.' Also, she adds, 'We just kept trying to top ourselves — and when you start with Sabbath, how do you top yourself? But Metallica works.' Alien: Earth premieres Tuesdays at 8:00 p.m. ET on Hulu and at 8:00 p.m. ET/PT on FX. This guide will be updated each week, after the episode finishes airing on FX. Popular Posts Justin Bieber Impersonator Dupes Las Vegas Nightclub, Performs On Stage Slipknot Selling Music Catalog in Deal Valued at $120 Million: Report BBC Pulls Ozzy Osbourne Documentary Hours Before Airtime Tom Cruise Declined Kennedy Center Honor from Trump: Report Jason Bonham's Led Zeppelin Evening Announces Fall 2025 North American Tour Jack White Rips Trump's Oval Office Decorations: 'Fully Achieved the Movie Idiocracy' Subscribe to Consequence's email digest and get the latest breaking news in music, film, and television, tour updates, access to exclusive giveaways, and more straight to your inbox. Solve the daily Crossword
New York Times
13 hours ago
- New York Times
‘Alien: Earth' Season 1, Episode 3 Recap: Weird Science
Season 1, Episode 3: 'Metamorphosis' The 'Alien' franchise explores two overlapping nightmares. The first is the Alien, a cold and implacable force against which humanity is defenseless. The second is humanity itself, which through technological hubris and old-fashioned greed might well invite its own destruction. Against the first we are helpless; with the second, we are all too eager to help. Where, then, does this leave a man like Morrow? The cyborg science officer aboard the doomed deep-space research vessel the Maginot may or may not have the freedom to make his own decisions regarding his mission to preserve the hostile alien life forms the ship was carrying. It seems highly possibile that his paymasters at the Weyland-Yutani Corporation have hacked his brain and forced him to comply. He also speaks of those awful aliens as his life's work, however, the mission to which he gave up 65 years of his life, in frozen slumber, in order to see it through. Everyone he knew in his old life, from his daughter to his crew, is now dead. The eyeball octopus, the bloodsucker, the dangling tentacle plant, the barfing bug and xenomporph are all he has left. Even when Ms. Yutani waves him off, he tells her that he will get those specimens back. Whether motivation or compulsion drove him to seal himself inside a safe room and allow the monsters to slaughter his fellow voyagers, the decision clearly weighs on Morrow. While downloading the ship's data into his computer-augmented brain — a process that involves a set of light-up tubes and, evidently, a good deal of pain — Morrow tries to explain his plight to Slightly and Smee (Jonathan Ajayi), the childlike human-synthetic hybrids left behind to guard a cache of Alien eggs. 'There's a feeling you get,' he says, 'when the monsters come, and you can't — you don't — help.' The dilemma leaves him wishing he were the robot the hybrids suspect him to be, since being fully mechanical would relieve him of the moral burden of what he has done. But when he is interrupted by Kirsh, the hybrids' synthetic guardian, and he sees one of the Alien eggs beginning to hatch, he makes a leap into the chasm created by his crashed ship and disappears. For a time, at least, it seems as if Morrow's mission is a failure. Kirsh and the hybrids secure the alien specimens and bring them back to the island headquarters of the genius inventor Boy Kavalier and his upstart mega-corporation, Prodigy. (The company's teddy-bear logo is particularly noxious considering its conduct.) Kavalier is especially smitten with the xenomorph corpse, seeing an ocean of potential in that hunk of obsidian exoskeleton and acidic blood. Want all of The Times? Subscribe.
Geek Tyrant
18 hours ago
- Geek Tyrant
Sydney Chandler Talks About Drawing Strength from Ripley for ALIEN
The Alien franchise has always thrived on two things the terrifying Xenomorph and the unshakable presence of Sigourney Weaver's Ripley. While Alien: Earth delivers big on the alien menace, Ripley is nowhere to be found this time. Instead, the responsibility of leading humanity's fight falls to Sydney Chandler as Wendy, a brand-new kind of Alien protagonist. Speaking with GamesRadar+ during a London press event, Chandler admitted Ripley wasn't a direct influence on her performance, but Weaver's work still had a deep impact. Chandler said: "I've been a massive fan of the original for a really long time. So, I just held on to the essence of that and the strength that her character gave to me when I was younger. "I don't think you can recreate or try and mirror anything from that original film. It stands on its own, as it should. I just went off the feeling that that film gave me. 'Kind of how Noah [Hawley, creator] said he went off the feeling of Alien and then allowed his imagination to explode." Wendy isn't your standard Xeno-fighting action hero. She's a 'hybrid', a terminally ill teenager whose consciousness has been transferred into a powerful Synthetic body. She's part of a group known as the 'Lost Boys,' terminally ill children given the same transformation, named after characters from Peter Pan by their creator, the enigmatic Boy Kavalier (Samuel Blenkin). For Chandler, the role came with the unique challenge of capturing a child's spirit within a superhuman shell. "Noah talked about focusing on the aspects of the personality and being the child and I took that and tried to think of where the personality would override the machine, and what it means to be a child. "I mean, they're great acting teachers. They're so present and vulnerable and honest. They don't overthink and, especially in Wendy's case, she listens to her gut and stands on her own feet and she goes for it. 'There's a freedom that you get to access when you're playing a child that's really vulnerable and really, really, really rewarding." Alongside Chandler, the series stars Alex Lawther, Timothy Olyphant, and more, as Alien: Earth brings the Xenomorph to our planet for the first time, right as humanity begins exploring a transhuman future. Creator Noah Hawley has even hinted that the alien itself will undergo some changes this time around. Alien: Earth streams on Hulu in the US starting August 12, and it looks set to carve out its own terrifying corner of the franchise while passing the torch from Ripley to Wendy in thrilling new ways.
