THE SPRINKLER Chapter Thirty-Eight
11.1.2026
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Research & Editor – Mike - Content - Layout
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Chapter 39
A Monthly Film-First Dispatch
Psycho Studios Phoenix
THE FINAL CUT: A LABOR OF LOVE
From Our Imagination to the Printed Page
Some projects are more than just stories. They're journeys filled with creativity, passion, frustration, determination, and a hell of a lot of hard work. For us at Psycho Studios Phoenix, The Final CUT represents all of that and more. What began as an idea for a horror trilogy evolved into something much bigger. The trilogy starts with CUT, a feature film screenplay, continues with CUT: The Next Cut, a limited television series, and concludes with our novella, The Final CUT. Bringing that final chapter to life has been an incredible experience. From developing the characters and crafting the twists and turns to creating the amazing artwork that captures the sinister presence of The Cutter, every element has been a labor of love. At its heart is a dark, twisted story about family, secrets, and the terrifying consequences of the past. And as our tagline reminds us, Family is the deepest cut.
But writing the story was only half the battle. Enter the wonderful, occasionally maddening world of self-publishing! Formatting, editing, cover design, ISBNs, proofs, distribution, and navigating the complexities of Amazon KDP and IngramSpark became an education all their own. There were moments of excitement, moments of frustration, and more than a few occasions when we wondered what we'd gotten ourselves into. But through the blood, sweat, and tears, we never lost sight of what mattered: bringing our story to readers. For a father-and-son creative partnership, seeing The Final CUT become a published work is something we're incredibly proud of. It's proof that with imagination, persistence, and a little madness, an idea can become something real. And while this chapter of the trilogy may be the final cut, we believe it's only the beginning of what Psycho Studios Phoenix has to offer.
Amazon Link: https://www.amazon.com/dp/B0HN763VPH
Film Image of the Month
Saw II 2005
The games get nastier, the body count climbs, and Jigsaw is back to remind everyone that life is precious, even if his methods are completely screwed up. Director Darren Lynn Bousman delivers a brutal sequel that finds Detective Eric Matthews (Donnie Wahlberg) desperately trying to save his son from a house filled with deadly traps and some seriously unfortunate houseguests. Tobin Bell is wonderfully creepy as Jigsaw, a twisted bastard who always seems three steps ahead of everyone else. With plenty of blood, psychological torment, and one hell of an ending, Saw II proves the original wasn't just a lucky shot. I want to play a game!
EDITOR’S NOTE
Contents:
Film: New release review, and our Psycho Scale.
From the Vault: Films from the 1930s through the 1980s. Simply a watch suggestion.
VHS Corner: One film suggested, do you own a VCR?
Music: This is about music that is directly linked to a film.
Spotlight: We honor those film & music greats from days gone by.
Random Review: TV or Film random reviews
**We use the Psycho Scale when reviewing movies with a score, it is 0-Psycho (10) and these scores are real and true.
A Word About Our Reviews
When I sit down to watch a movie for the first time, I want to love it. No trailers, no reviews, no articles, and absolutely no distractions. No phone calls, texting, or even bathroom breaks. Just me and the movie, completely immersed from beginning to end. I give every film a fair shot because I genuinely love cinema and respect the craft of filmmaking. Mykal occasionally reminds me, sarcastically, it’s a better film than you've made, Dad! And he's got a point! But whether a movie makes $100 million or $100,000, great storytelling is great storytelling. When I praise a film, I mean it. When I tear one apart, I mean that too. No agendas, no outside influences. Just one horror-loving filmmaker's opinion.
FILM
New Release
Other Mommy 2026 Rated R – Runtime 1h 34m
By the Numbers:
Budget $19 million – Box Office $95 million
Somebody Please Call My Mommy!
Sometimes you know within the first ten minutes of a movie that you're in for a long night. Unfortunately, Other Mommy wasted absolutely no time convincing me that the next 93 minutes of my life were going to be painful.
First of all, can we talk about the title? I was secretly hoping I'd gotten it wrong and the movie was actually called Other Mummy. Now THAT might have been interesting! Maybe a fresh take on Universal's classic monster?
No such luck.
It's Other Mommy. And by the time this thing was over, I wanted my mommy.
The story centers on a married couple and their seven-year-old daughter, who find themselves dealing with a mysterious entity known as you guessed it: Other Mommy. And believe me, if you somehow forget what this thing is called, don't worry. The characters will remind you approximately every thirty seconds.
Other Mommy. Other Mommy. Other Mommy.
Good grief! (Shout out to the Great Pumpkin Patch)
We begin with the obligatory anniversary party, complete with an MTV-style montage that feels completely out of place. The happy couple is celebrating seven years together, which briefly had me wondering whether we were about to get some twisted variation of The Seven Year Itch.
That might have been more entertaining.
Before long, strange things begin happening around the house, everyone seems to recognize that something supernatural is lurking about, and the family decides to relocate to a friend's home.
At this point, I was already struggling to care.
There's also a mysterious compass introduced early in the film. Naturally, you assume it's going to become important later. Unless these people are planning to board a boat and sail away from this ridiculous screenplay, I couldn't imagine what purpose it would serve.
And believe me, sailing away would have been an excellent idea.
But wait, there's more!
Apparently, the supernatural nonsense isn't enough to carry the story, so we're treated to a marital confession involving the mother's affair. Her seven-year-old daughter overhears the conversation and understandably has some questions.
Dad's brilliant explanation?
Sometimes adults fall in love with other people, even when they shouldn't, but everything is going to be okay.
Really?
I'm beginning to think the writers needed a little adult supervision themselves.
Then there's the ball pit sequence.
Don't ask.
I don't want to talk about it.
Just when I thought things couldn't get any stranger, the filmmakers introduce Grandma, played by Karen Allen!
Yes, THAT Karen Allen. Raiders of the Lost Ark, Starman, Indiana Jones and the Kingdom of the Crystal Skull.
Karen, what the hell are you doing here?
Grandma apparently possesses some supernatural knowledge, and before you know it, she's assembled what I can only describe as a psychic army.
Here we go again.
Ever since Poltergeist, filmmakers seem convinced that every haunted-house movie requires a collection of paranormal experts marching into someone's home with the confidence that they're about to solve everything.
And naturally, our fearless psychic leader delivers this unforgettable declaration:
Everything's going to be all right. We have Other Mommy right where we want her.
Oh, for crying out loud.
At this point, I came up with a way to make the movie considerably more entertaining.
The Other Mommy Drinking Game!
Every time someone says Other Mommy, take a shot.
Actually, don't. You'd probably never make it to the closing credits.
As the film approaches its conclusion, the emotional melodrama reaches almost unbearable levels. Mom decides this is the perfect time to unload her feelings about motherhood onto her already traumatized seven-year-old daughter.
She explains that she never really wanted to be a mother but still loves her daughter.
Wonderful.
The poor kid has spent the entire movie dealing with a supernatural nightmare, and now she gets an unsolicited therapy session from Mom.
Can somebody please give this child a normal afternoon?
And let's not forget those strange zipper-like scars introduced earlier in the movie. Naturally, they become part of the final revelations, accompanied by some wonderfully exaggerated facial expressions from Jessica Chastain.
By the time the credits rolled, I wasn't frightened, disturbed, or emotionally moved.
I was relieved.
Now, here's something that genuinely scares me.
According to the box office figures I checked while watching, this movie reportedly cost around $19 million to produce and had already earned more than $87 million.
EIGHTY-SEVEN MILLION DOLLARS!
How?
Why?
Who keeps buying tickets to these things?
The film was also sitting at a miserable 19% on Rotten Tomatoes. Now, Mykal and I lost considerable respect for that particular website years ago, so I generally take its ratings with a grain of salt.
But in this case?
Even a broken clock is right twice a day.
And here's the truly frustrating part. As independent filmmakers working to bring our own projects to life, Mykal and I look at the money these movies generate and can't help wondering how something so painfully mediocre becomes such a financial success.
Hey, Hollywood, we've got a few scripts we'd love you to look at!
THE FINAL VERDICT
Other Mommy is a painfully repetitive, overly melodramatic supernatural horror film that manages to recycle just about every tired haunted-house convention imaginable.
The performances range from acceptable to wildly exaggerated, the dialogue frequently borders on ridiculous, and the story never generates the kind of genuine tension necessary to make any of this work.
At 93 minutes, it somehow feels twice as long.
I kept hoping the movie would surprise me, find its footing, or deliver something remotely memorable.
Instead, it just kept reminding me about Other Mommy.
And Other Mommy.
And Other Mommy.
Enough already!
On the Psycho Scale, I'm giving Other Mommy a miserable 2 out of 10.
And if there's ever a sequel, I have the perfect title:
Other Mommy 2: Please Make It Stop.
Now, if you'll excuse me, I need to watch something good to get the taste of this one out of my mouth.
Psycho Scale: 2 out of 10.
New Release
Clayface 2026 Rated R – runtime 1h 48m
By the Numbers:
Budget $30-$40 million – Box Office $44 million
Darkman Called. He Wants His Movie Back.
Another October horror release, another opportunity to sit down with an open mind and hope for something worthwhile. That's always my approach when reviewing a new movie. I genuinely want to enjoy what I'm watching.
And Clayface actually started with some promise. David Bowie was playing over the opening, and I thought, hey, maybe we're onto something here!
Unfortunately, that optimism lasted about as long as a Hollywood marriage.
The story follows a handsome, rising movie star whose career is skyrocketing. Naturally, we're introduced to him appearing on a talk show, basking in the adoration of his fans and enjoying all the wonderful perks of celebrity.
Then it's off to a nightclub, where our leading man receives the obligatory VIP treatment, complete with bottle service, terrible music, and some of the most unconvincing dancing imaginable.
Oh boy. Here we go.
Our brilliant young actor meets an attractive brunette, indulges in a little recreational drug use, and ends up spending the night with her. Never mind that he doesn't know her from Adam or that his best friend warned him she might be involved with someone else powerful.
What could possibly go wrong?
Well, apparently, quite a bit.
The next morning, three gangsters show up, and their leader isn't particularly thrilled that our Hollywood golden boy slept with his woman. The punishment? They carve up his face, effectively destroying his appearance and career.
(Side note: Mykal stated that this is the first R-rated DC franchise film. The nudity, and gore feels forced most times to make sure this is not a PG-13 film)
And there you have it. The entire premise of Clayface established in roughly fifteen minutes.
Maybe we could have just called it a day.
Enter Gotham City. And a Whole Lot of Familiar Territory.
After losing a civil lawsuit against his attacker and watching his career collapse, our disfigured actor retreats to the Narrows, one of Gotham City's less desirable neighborhoods.
He's now sporting a partial facial mask that looks like a bargain-basement version of The Phantom of the Opera.
And suddenly, I found myself wishing I was watching Darkman.
Remember Sam Raimi's terrific 1990 film starring Liam Neeson? A scientist suffers horrific facial injuries and develops an experimental treatment that temporarily restores his appearance.
Sound familiar?
Well, buckle up, because Clayface seems determined to revisit that territory.
Our actor discovers a brilliant doctor developing groundbreaking medical technology involving nanocells controlled by artificial intelligence.
Because, naturally, combining experimental medicine with AI couldn't possibly lead to any complications.
The doctor performs her miracle treatment, and before you know it, our leading man has his handsome face back.
Almost overnight!
Of course, she warns him that the treatment requires additional testing and that he should avoid unnecessary stress.
So, what's the first thing he does?
Shows up at a Hollywood red carpet event.
Shocking, I know.
Naturally, things begin going wrong, and his freshly restored face starts melting.
Darkman, anyone?
Seriously, I kept expecting Sam Raimi to show up and demand his screenplay back.
The Science of Stupidity
As the movie progresses, we discover that the experimental treatment has given our actor some rather unusual abilities.
His injuries heal almost instantly. His skin can regenerate. And eventually, he discovers he can transform his appearance into that of another person.
How does he discover these remarkable abilities?
By repeatedly cutting himself with a straight razor.
Because that's apparently what intelligent people do when experimenting with unstable medical technology.
The filmmakers also establish that emotional stress causes his face to deteriorate. When he gets angry, his appearance changes dramatically.
At this point, I was waiting for someone to deliver the immortal line:
You wouldn't like me when I'm angry.
Wrong comic-book universe, I suppose.
The movie occasionally delivers some genuinely grotesque imagery, particularly during a sequence aboard an airplane when our hero's face begins collapsing around his eyes.
But even these moments feel more interested in grossing out the audience than building suspense.
And let's not confuse this with an Eli Roth movie.
There's a difference between disturbing imagery that serves a story and throwing disgusting visuals onto the screen because you can. What can we do to get an R rating?
Everybody's Somebody Else!
Eventually, our leading man discovers that his former business manager has betrayed him, stolen his money, and aligned himself with the gangster responsible for his disfigurement.
Naturally, revenge becomes the order of the day.
During one confrontation, our actor manages to rip the man's tongue out before somehow assuming his appearance.
Later, he confronts another former associate, and things become even more ridiculous when the unfortunate fellow is essentially absorbed into his body.
Now our hero looks like him, too!
Here's my problem.
These men have completely different physical builds, heights, and proportions. Yet somehow, transforming his face apparently transforms his entire body as well.
(Let’s not mention when this tall male becomes a petite female.)
I understand we're watching a comic-book-inspired horror movie, but come on!
A little internal logic wouldn't hurt.
Meanwhile, the doctor responsible for his transformation becomes the object of his affection.
Unfortunately, she's engaged to a police officer investigating the growing number of murders.
You can probably guess where this is heading.
Our increasingly unstable actor becomes romantically obsessed with the doctor, who apparently possesses the remarkable ability to calm his transformations simply by touching his face.
How sweet.
Nothing says romance quite like a homicidal, shape-shifting patient with serious anger-management issues.
And Then Things Really Get Stupid.
The final act brings together the gangsters, the doctor, her police-officer fiancé, and our revenge-driven leading man.
There's another nightclub sequence, more terrible music, flashing lights, mistaken identities, and enough convoluted confrontations to make your head spin.
Our actor begins eliminating the people responsible for destroying his life, while his increasingly unstable body continues transforming into something truly monstrous.
The special effects occasionally provide some interesting moments, but the overall production feels surprisingly ordinary for a movie set within the DC universe.
And the storyline?
Predictable, repetitive, and increasingly ridiculous.
By the time our hero finally transforms into the grotesque creature we recognize as Clayface, I was reminded of the wonderfully disgusting body-horror effects from Stuart Gordon's From Beyond (1986).
Unfortunately, that's where the comparison ends.
The film concludes with our leading man becoming a massive, twisted, screaming creature of living clay.
And then it's over.
Thank goodness.
THE FINAL VERDICT
Look, I'm not opposed to filmmakers reinventing established characters or exploring familiar material from a different perspective.
In fact, I welcome it.
But Clayface takes an interesting character from Batman's universe and delivers a painfully predictable origin story that borrows heavily from better films.
The similarities to Darkman are impossible to ignore, the romantic subplot feels forced, and the scientific explanations become increasingly absurd.
Even the body-horror elements, which should have been the film's greatest strength, never generate enough tension or genuine terror to make the experience worthwhile.
And outside that opening David Bowie track, the music didn't do much for me either.
What frustrates me most is the wasted opportunity.
There's a genuinely disturbing horror story somewhere inside the concept of an actor losing his identity, his appearance, and ultimately his humanity.
That's fascinating material.
Unfortunately, the filmmakers seem more interested in delivering another formulaic revenge thriller with familiar comic-book trappings.
And that's a shame.
As someone who loves horror and appreciates imaginative filmmaking, I wanted this movie to surprise me.
Instead, I spent much of its running time wishing I was watching something else.
On the Psycho Scale, I'm giving Clayface a disappointing 3 out of 10.
And after sitting through this one, there's only one thing left to say.
I'm glad I'm not a sculptor.
Psycho Scale: 3 out of 10.
FROM THE VAULT (1930s–1980s)
Son of Frankenstein 1939 Unrated – runtime 1h 39m
The Monster returns, and this time it's a family affair! Boris Karloff makes his third and final appearance as Frankenstein's legendary creation in this atmospheric Universal horror classic. Basil Rathbone plays Wolf Frankenstein, the son of the infamous doctor, who returns to his father's castle and discovers that some family secrets are better left buried. Bela Lugosi nearly steals the show as the sinister, broken-necked Ygor, while Lionel Atwill delivers a memorable performance as the one-armed Inspector Krogh. Packed with gothic shadows, creepy laboratory scenes, and plenty of mad science, Son of Frankenstein proves that you just can't keep a good monster down!
Psycho 1960 Rated R – runtime 1h 49m
The movie that changed horror forever and inspired the name Psycho Studios Phoenix! Alfred Hitchcock's Psycho shattered Hollywood conventions, shocked audiences, and made taking a shower downright terrifying. Anthony Perkins delivers an unforgettable performance as Norman Bates, the seemingly harmless motel owner with a few disturbing family issues. Janet Leigh's Marion Crane checks into the Bates Motel, and what follows is one of cinema's most brilliantly twisted nightmares. With Bernard Herrmann's nerve-shredding score, Hitchcock's masterful direction, and a legendary ending, Psycho remains a masterpiece of psychological horror. More than six decades later, Mother still knows best. Or does she? We all go a little mad sometimes.
VHS CORNER (Available only on videotape)
Horror House on Highway 5 1985 Unrated - runtime 1h 28m
A Nixon Mask, Nazi Scientists, and 80s Horror Insanity!
Some horror movies scare the hell out of you. Others leave you scratching your head, wondering what the hell you just watched. Richard Casey's Horror House on Highway 5 falls squarely into that second category, and that's part of its bizarre charm.
Written and directed by Casey, this low-budget horror-comedy follows a group of college students assigned to investigate the mysterious Dr. Frederick Bartholomew, a missing scientist and former Nazi connected to World War II rocket experiments. Sounds straightforward enough, right? Well, throw in the deranged Dr. Marbuse, his dimwitted brother Gary, and a mysterious killer roaming the countryside wearing a Richard Nixon mask, and things get wonderfully weird.
Starring Phil Therrien, Max Manthey, Michael Castagnolia, Irene Cagen, and Gina Christiansen, the film delivers 88 minutes of pure, unfiltered 1980s independent horror madness.
The acting is questionable, the editing is all over the place, and the storyline occasionally seems to have wandered off without telling anyone. But that's precisely what makes this forgotten little oddity worth discovering.
There's something strangely entertaining about a movie that throws logic out the window and embraces its own insanity. It's gritty, ridiculous, occasionally creepy, and unapologetically strange.
Horror House on Highway 5 isn't going to win any awards, but for fans of obscure 80s slashers and underground horror, it's a fascinating example of filmmaking on a shoestring budget.
And seriously, how many horror movies feature a killer wearing a Richard Nixon mask?
Sometimes the weirdest roads lead to the most entertaining nightmares.
MUSIC (That collides with film)
Rob Zombie’s Halloween 2007
When Classic Rock Meets Pure Horror
Say what you want about Rob Zombie's 2007 reimagining of Halloween, but the man knows how to put together one hell of a soundtrack! Blending classic rock, heavy metal, and Tyler Bates' haunting score, Zombie created a musical backdrop that perfectly complements his gritty, brutal take on Michael Myers.
From the eerie opening notes of Bates' updated Halloween Theme to Blue Öyster Cult's timeless Don't Fear the Reaper, the soundtrack is a killer collection of musical nostalgia. Nazareth's Love Hurts, Peter Frampton's Baby, I Love Your Way, and Rush's Tom Sawyer bring that unmistakable 1970s atmosphere, while Bachman-Turner Overdrive's Let It Ride keeps things rocking.
Of course, no Rob Zombie soundtrack would be complete without something a little heavier. KISS delivers with God of Thunder, and The Misfits bring their signature punk-horror attitude with Halloween II. Rounding things out is Nan Vernon's haunting rendition of Mr. Sandman, a wonderfully unsettling take on a familiar classic.
Love the movie or hate it, there's no denying that Zombie understands the relationship between music and film. His song selections don't just accompany the action; they help establish the mood, the characters, and the world they inhabit.
We've put together a special Spotify playlist featuring these tracks, so crank up the volume and enjoy the music that collides with film!
Because sometimes the soundtrack is just as memorable as the movie itself.
Featured Songs & Score
Halloween Theme 2007 – Tyler Bates
Don't Fear the Reaper – Blue Öyster Cult
Love Hurts – Nazareth
Baby, I Love Your Way – Peter Frampton
Tom Sawyer – Rush
Let It Ride – Bachman-Turner Overdrive
God of Thunder – Kiss
Halloween II – The Misfits
Mr. Sandman – Nan Vernon (Our playlist includes the original Mr. Sandman Carpenter used.)
Spotify Playlist:
Psycho Studio’s Spotlight
Alfred Hitchcock (1899-1980)
The Master of Suspense
Few filmmakers have left a mark on cinema quite like Alfred Hitchcock. Known as the Master of Suspense, Hitchcock transformed the thriller and horror genres with his brilliant storytelling, psychological tension, and unforgettable characters.
From Rear Window (1954) and Vertigo (1958) to North by Northwest (1959), Psycho (1960), and The Birds (1963), Hitchcock understood something many filmmakers still struggle with today: sometimes what you don't see is far more terrifying than what you do.
His innovative camera techniques, dark humor, and ability to manipulate an audience's emotions made him one of the most influential directors in Hollywood history.
For us at Psycho Studios Phoenix, Hitchcock holds a particularly special place. His groundbreaking masterpiece Psycho not only changed the landscape of horror filmmaking but also inspired the name of our studio. His fearless approach to storytelling, willingness to challenge conventions, and dedication to creating unforgettable cinematic experiences continue to inspire our creative vision.
More than four decades after his passing, Hitchcock's legacy remains as powerful as ever.
The Master of Suspense may be gone, but his influence will never die.
Psycho Studio’s Random Review!
Crystal Lake 2026 Eight Episodes about 50m each TVMA
Contains spoilers
After years of waiting, Jason Voorhees and the Friday the 13th franchise are finally back! Well, sort of.
Crystal Lake, the eight-episode prequel series, takes us back to where it all began, exploring the tragic history of Pamela Voorhees and her son Jason. As a longtime fan of the franchise, I was excited to see what the creatives would do with the material, particularly after such a long absence from our screens.
Unfortunately, while there's plenty to appreciate here, there's also a hell of a lot that left me wondering why they made things so complicated.
Let's start with the good stuff.
Linda Cardellini is terrific as Pamela Voorhees. She brings a genuine emotional depth to a character we've primarily known as the revenge-driven mother from the original 1980 classic. Callum Vinson, portraying young Jason, is equally impressive, and the supporting cast delivers solid performances throughout.
The production design is another highlight. Set during the early 1970s, the series does a wonderful job capturing the period through its clothing, automobiles, locations, and overall atmosphere. There's also plenty of nostalgia for longtime fans, with references to the original films scattered throughout the eight chapters. Even the episode titles pay tribute to various installments of the franchise.
And yes, Crazy Ralph makes an appearance!
The series also explores Jason's childhood, his physical deformities, and the complicated relationship between mother and son. These are interesting elements, particularly when we're given a glimpse into Pamela's fierce love for her boy.
But here's where things start going off the rails.
Rather than concentrating on Camp Crystal Lake and the events that ultimately transform Pamela into the murderous character we remember, the writers introduce an elaborate secondary storyline involving a massive chemical corporation, government experimentation, and Jason's mysterious medical history.
We discover that Pamela once had aspirations of becoming a singer, that Jason's father worked for this corporation, and that experimental procedures performed during her pregnancy may explain Jason's deformities, extraordinary strength, and apparent inability to stay undead.
Yes, you read that correctly.
Apparently, the origins of one of horror's most recognizable killers now involve chemical experiments connected to preparations for a potential nuclear attack.
Look, I appreciate TV-filmmakers attempting something different. And I'm certainly not suggesting the storyline is impossible to follow. My problem is that it's unnecessarily complicated.
Did we really need an elaborate scientific explanation for Jason Voorhees?
Sometimes a little mystery goes a long way.
The series also spends considerable time following a group of hippies who have taken up residence at Camp Crystal Lake while helping Steve Christy prepare the property. While these characters contribute to the unfolding events, their storyline becomes another distraction from what should be the heart of the series.
Between the hippies, the chemical corporation, Pamela's troubled marriage, and the constant flashbacks, the narrative frequently loses its momentum.
Episode seven, which concentrates heavily on Pamela's past and the experiments surrounding Jason's birth, particularly illustrates my frustration. It's an ambitious approach, but I found myself wishing we could just get back to Camp Crystal Lake.
And what about the music?
The score is effective in places, but I would have loved to hear more of the familiar musical elements that helped make the original films so memorable. Those unmistakable Friday the 13th sounds are part of the franchise's identity, and their limited presence feels like a missed opportunity.
By the eighth and final episode, the various storylines finally collide.
Pamela's past catches up with her, Jason emerges as a grown man wearing his familiar burlap sack, and we're given a violent confrontation involving his father, Elias.
Interestingly, Jason doesn't quite have the imposing physical presence I associate with the character. He's tall, certainly, but I expected something a little more intimidating.
Nevertheless, the finale delivers some memorable moments, including Jason's confrontation with his father and an encounter with Crazy Ralph that reinforces the idea that our favorite masked killer isn't going anywhere.
The season concludes with Pamela descending further into madness, leaving the door open for more mayhem at Crystal Lake.
So, what's the verdict?
There's a good television series buried somewhere inside Crystal Lake. The performances are strong, the production values are impressive, and the filmmakers clearly have an appreciation for the franchise's history.
But somewhere along the way, they decided that a relatively straightforward horror mythology needed an elaborate explanation involving corporate conspiracies, scientific experimentation, and government secrets.
For me, that takes away some of the magic.
The original Friday the 13th worked because of its simplicity. A grieving mother, a tragic drowning, a secluded summer camp, and a terrifying desire for revenge.
Sometimes that's all you need.
Would I recommend Crystal Lake? Absolutely, particularly to fans of the franchise. There's enough here to make the eight-episode journey worthwhile, even if I found myself occasionally checking how much time remained.
I'm sure plenty of viewers will love the expanded mythology. Personally, I would have preferred a little less science fiction and a lot more old-fashioned Camp Crystal Lake horror.
On the Psycho Scale, I'm giving Crystal Lake a solid 6 out of 10.
And remember, whenever you hear that familiar whisper coming from the woods...
Ki-ki-ki... ma-ma-ma...
You might want to find somewhere else to spend your summer vacation. Mam, we didn’t find any boy!
CLOSING THOUGHT
We refrain from speaking to politics, religion and the strife across the globe. Film has been an incredible connection and enthusiastic distraction, hobby and life pursuit. 2026 is Psycho Studio’s year, and we look forward to sharing thoughts, experiences and the like. We wish everyone a safe and happy fall.
Mykal and I shared this credo with one another a couple years ago; it was poignant then & surely is today!
Be cool to one another
Please subscribe to our newsletter; back issues available with some great content!
Mykal and I wish everyone a positive month! Be safe and stay psycho! We would love to hear from our audience. Comments, feedback and suggestions are welcome!
Email us at - psychostudios66@gmail.com
Reach us at our website: www.psycho-studio.com
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The Sprinkler is dropped on the first of each month.
Mike & Mykal - Psycho Studios Phoenix – 11.1.2026
Thank you, Psychos one and all! Chapter 39
