Can a horror movie have a political agenda? Well, that was the question I asked myself after reading '15 Horror Movies Socialists Could Love''. So as I started to think back to all the hacking and slashing I'd seen over the years, I looked for some some pattern or connection between what I choose at the box-office and what I do at the polling station -- and what did I come up with? Well, I'll get to that, but first I wanted to take a moment to look back at some of the films that have gained a reputation with critics and fans alike as movies with a so-called conservative or liberal state of mind:

'Red State Horror':

Friday the 13th (1980)
Conservatives supposedly love this movie because it's all about no-good kids getting what they deserve. Sexy teens don't stand a chance in this franchise from the moment they take a drink, get high, or get naked. Plus, it's one of the few horror films with a moral about the importance of a good work ethic.

Frankenstein
It's science vs. religion in the story of a man who presumes to know more than God...and I think we all remember how that turns out.

Lost Boys
Family values are all over this one, and when a divorced mom pays more attention to a her love life than her two sons, look what happens. So even with a pot-smoking grandpa, plenty of critics agree that this film is all about Regan's America and the triumph of family over no-good, rock n' roll loving, motorcycle-driving youth gangs.

Tremors
2nd Amendment fans praise this tale of a band of locals fending off giant worms and the gun-toting survivalists that help save the day -- Take that Brady Bill!

Check out the rest at HorrorSquad!

Our pal Jason is having one hell of a big DVD day, with no less than six different releases dedicated to the masked masher. With that in mind, we dig up a piece from last February and reminisce over our favorite slasher's greatest hits.

To commemorate the re-re-reawakening of good ol' Jason Voorhees, I thought it'd be fun to toss out seven of my favorite kills from the hulking lunatic. And so I did. To find out if the new Friday the 13th has any kills worth considering, well, I guess you'll have to buy a ticket. Or wait for the DVD. Or cable.

Mark (Friday the 13th Part 2) -- This is where we learned that all bets were off: Not only would Jason gladly kill a good-looking handicapped guy who was about to get sexed up ... but he'd also give the wheelchair-bound lothario one of the series' most diabolical demises! Yep, poor Mark got a machete in the face before his wheelchair bounced (backwards!) down a giant staircase. Simple, creepy, effective.

Andy (Friday the 13th Part 3) -- Why would a guy spend his after-sex time walking around on his hands? So that Jason can chop him (downward!) from the groin to the ... I dunno really, but in a movie filled with cheesy FX and unconvincing kills, this one still comes off as impressively nasty. I was gonna go with "Jeff & Sandra's post-coital dual-skewer" scene, but the MPAA gutted most of that creativity.

Jack (Friday the 13th) -- Most hardcore fans would probably pick Annie (nasty throat slice) or Marcie (axe to the face!), but there's something about that hand popping up from beneath Kevin Bacon that always freaked me out. Plus the "arrow throat" gag works exceedingly well, whether you're watching the American version or the slightly messier UK edition.

Friday the 13th
Marcus Nispel directs a rebooted version of the venerable series, which borrows elements from the first four films and adds precious few of its own. I'm tempted to say "skip it," based on my own review, but those first 20-25 minutes are pretty ferocious, and the "Extended Killer Cut" promises more of everything. Also on Blu-ray. Rent it.

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Tyler Perry's Madea Goes to Jail
Tyler Perry has grown his beloved character Madea "into a larger-than-life force of nature that is genuinely funny," wrote Eric D. Snider. He noted the writer/director's "tendency toward oversimplification," however, and commented: "Maybe if someone would do a better job of making films targeted at a black, female Christian audience, Perry's half-baked didacticism would suffer in comparison. In the meantime, this is the best there is, so it's nice that Perry is improving, albeit in small increments." Rent it.

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Ghostbusters
The comedy classic with Bill Murray, Dan Aykroyd, Harold Ramis, Ernie Hudson, and Sigourney Weaver stands ready to imprint itself upon your memory once again, in a new Blu-ray edition. One word to keep in mind before buying, however: grain. "Surprisingly heavy," says DVD Beaver; "heavy wash of grain that never quite dissipates," per IGN; "features plenty of the swirly stuff in most every scene," according to Blu-ray.com. Other than that important factor, which is claimed to reflect the original source print, reviews have been positive. Rent it.

Add to Netflix queue | Buy at Amazon

Also out: What Goes Up, Morning Light, Sword of the Stranger, and a boatload of TV series (a list of the latter at TV Squad).

After the jump: Indies on DVD, more Blu-ray, and Collector's Corner.

On a recent visit to the Chicago-based set of the A Nightmare on Elm Street remake, producers Brad Fuller and Andrew Form gave us online types a good hour with which to poke and prod about that film and countless other projects in the works. The Elm St. stuff will have to wait until the time is right, but at the moment, you're just a hop, skip and jump away from finding out where Platinum Dunes currently stands with a Friday the 13th sequel, their present involvement in reported remakes of The Birds and Rosemary's Baby, and how exactly the little-seen Horsemen ended up slipping through the cracks last spring...

Read the full interview at Horror Squad!

Oh, what might have been! Alison Lohman gives a terrific performance as the cursed loan officer Christine Brown in Sam Raimi's Drag Me to Hell, which opens tomorrow. If not for the vagaries of scheduling, though, Ellen Page would have played the lead role. Would Page have been any better? We'll never know, but she joins a long list that inspires thoughts of 'What if ...?'

Once upon a time, we might have seen Leslie Howard as the titular Frankenstein and Bela Lugosi as The Monster. Instead, Colin Clive played the good doctor, Boris Karloff got a jump-start on life, and the rest is horror history. Here are seven more recent examples of actors and actresses who were considered for key roles in great horror films ... and the ones who replaced them, listed in chronological order. [Disclaimer: Based on information provided on IMDb's "trivia" pages, so no guarantees on accuracy.] Better? Worse? You decide.

1. Melanie Griffith / Sissy Spacek (Carrie)

Even though she was in her mid-20s, Spacek looks so young and fragile as Carrie that it's difficult to imagine anyone else in the role. Griffith was 18 or 19 and already had made an impression in Night Moves, The Drowning Pool, and Smile when she auditioned to play the telekinetic high schooler. Conveying Carrie's complexities might have been beyond her still-developing skills at that point. The pic above, left, is from Joyride, released the following year.

Just when you thought it was safe to go wandering in the woods with your portable DVD player, Jason Voorhees appears to remind you: check your calendar before leaving the house. I wish that the Friday the 13th reboot, directed by Marcus Nispel and produced by Michael Bay, had lived up to the promise of its first 20-25 minutes. As I wrote upon its release in February, "the set-up in the present day was classically simple, the action flared up in mean and bloody outbursts, and Jason's appearance was note-perfect."

It's too bad the movie never regained its footing after it paused to take a breath, but I know that won't keep horror fans from checking it out when it hits DVD on June 16, especially since the unrated version will include additional scenes (reportedly nine minutes of unseen footage). The theatrical version did appear short of some of the expected bloody carnage -- a few scenes felt incomplete, while others stopped just before more explicit mayhem might have been unleashed. DVD Active has the early artwork; the unrated edition on DVD includes a "Rebirth of Jason" featurette, while the Blu-ray will have both the theatrical and unrated editions, plus two additional featurettes and a "terror trivia track."

Meanwhile, Shock Til You Drop has details on the extras and artwork for the new special editions of Friday the 13th Part IV: The Final Chapter, Friday the 13th Part V: A New Beginning, and Friday the 13th Part VI: Jason Lives. All three feature audio commentaries and featurettes; Part IV even gets a "fan commentary" by the talented directors Adam Green (Hatchet, Spiral) and Joe Lynch (Wrong Turn 2: Dead End). Personally, I'll be buying at least two out of those three. They'll all be released on Tuesday, June 16.

Have you ever dismissed a movie as an unmitigated piece of junk, and then seen it a second time and thought, "That wasn't so bad"? Xan Brooks in The Guardian raises the question: "Who's at fault if a film fails on a first viewing and succeeds on the second? The viewer, the film-maker, or the tangled, criss-crossing dialogue between the two?"

He notes the turn-around he experienced with the Chilean drama Tony Manero, which is due for US release shortly. and admits that he is "nagged by the suspicion that there may be many other films in need of hasty reappraisal." The influential film critic Pauline Kael famously said she never watched a movie more than once, but Newsweek film critic Joe Morgenstern completed changed his mind about Bonnie and Clyde after describing it as a "squalid shoot-em-up for the moron trade." His mea culpa read in part: "I am sorry to say I consider that review grossly unfair and regrettably inaccurate."

I'm not suggesting that every bad movie will suddenly blossom into a classic with a second viewing. Our own Scott Weinberg recently watched Howard the Duck again, and that sucker is still a "$40 million dollar poop-nugget." On the other hand, my estimation of the original Friday the 13th rose with a recent reviewing, and Peter Bogdanovich's films have been rising in stock for me lately after falling through the floor for a period of my critical life.

What about you? Have repeat viewings changed your mind, perhaps after a period of years, either for good or for bad? Are you now convinced that Citizen Kane isn't so bad after all, or ready to give Watchmen a second chance when it hits DVD?

Like thousands of others, I lost an important source of income earlier this year, so I've keenly felt the impact of the current economic recession on my greatest passion: watching movies. But though it may "sound counterintuitive," CNN reports that "movie ticket sales are way up in this down economy" because "struggling people are looking for a $10, two-hour escape."

They point to the stunning box office success of the critically slammed Paul Blart: Mall Cop, He's Just Not That Into You, and Bride Wars, and quote Paul Dergarabedian of Hollywood.com, who claims that "only movies that turn away from financial realities will succeed during the recession." Dergarabedian also cites the opening weekend success of the new version of Friday the 13th and declares: "If Jason is scaring the crap out of you, you can't really be thinking about your mortgage, you know?" Riiiiiiiiiight. Of course, most of the younger crowd that were scared by Jason don't have mortgages yet to worry about.

In my case, I recently raced out to a late morning screening to catch Clive Owen in The International because the first weekend screening of the day at my local multiplex costs only $6.00, compared to $8.00 for early afternoon shows and $10.00 for anything after 4:00 p.m. I shaved down my Netflix account, canceled the premium movie channels from my satellite TV subscription, and now shop only for bargain-priced "gotta have" DVDs online.

What about you? Is the recession impacting your movie watching? Are you choosing different types of movies -- comedies and thrillers instead of dramas? Are you going to more matinee shows? Are you watching fewer movies in theaters and more on TV, your computer, and your cell phone not for the convenience, but because it's cheaper?

Tyler Perry is undeniably an enormous cash cow for Lionsgate. His films are inexpensive to produce (though no doubt Perry himself is commanding a steadily bigger paycheck with every film), and the least of them (the non-Madea-related Daddy's Little Girls) grossed $30 million; Madea's Family Reunion made upwards of $60. As a pure brand-name draw, I thought Perry might be fading a bit; his two 2008 offerings, one of which featured the profane, drag-tastic powerhouse Madea, both ended up toward the bottom of his filmography. Nothing doing. Tyler Perry's Madea Goes to Jail made an eye-popping $41 million on a slow weekend, handily toppling the previous Perry opening record held by Family Reunion. Has there ever been another film (or set of films) with such niche popularity (in this case: African-American, Christian) but such minimal crossover appeal?

(By the way: I haven't seen any of Perry's films, but I find the photo that accompanies this post so inexplicably funny I'm almost tempted to go watch this one.)

Screen Gems' Fired Up!, the only other film to go wide this weekend (perhaps as part of a conspiracy to make people watch the Oscars) made $6 million and landed in 9th place, which actually isn't wretched for the cheap, low-expectations release.

The other notable story from the charts is Friday the 13th, which lost an awesome 81% of its opening-weekend gross and dropped from first place to sixth. Horror films with big openings are notoriously susceptible to big second-weekend drops, but 81% is almost unprecedented -- the only wide release this decade to suffer worse is the infamous Gigli. Among horror films, only Captivity (77% in 2007) came close.

Next week, we'll see what kind of "Oscar bump" Slumdog Millionare gets, but it doesn't need much help: with a slight screen count boost, it rose to #5 this weekend and is almost at $100 million.

The full top 10 after the jump.

New Line insists on "reimagining," but from reading the reviews I take it nobody's buying.

Anyway. Friday the 13th set a horror remake opening weekend record, grossing $40.7 million over the three days and $45.2 including President's Day Monday. That beats Marcus Nispel's Texas Chainsaw Massacre remake by more than $12 million. It's also roughly the second best President's Day weekend opening ever, behind only Ghost Rider and just about tied with 50 First Dates and Daredevil.

Confessions of a Shopaholic opened to a halfway decent $17.3 million, while The International more or less flopped with $10.7 million; the marketing for the latter really pushed the evil bank concept, complete with a shot of an ATM offering "murder" "corruption" and "extortion" as options instead of "withdrawal" "deposit" and "check balance." Maybe people thought it was a comedy.

It was another good weekend for holdovers, with Taken, Coraline and -- once again -- Paul Blart: Mall Cop all doing well. Taken's $81-million-and-counting is really remarkable. $120 million is assured at this point, with more possible. "Sleek, preposterous and breathlessly entertaining" appears to be a good formula. Meanwhile, maybe if I stop mentioning Paul Blart in these posts, it'll go away? Seems unlikely.

Leading up to the Oscars, Slumdog Millionare should be close to $100 million by the big night. The Reader also saw a late bump this weekend; a Kate Winslet win on Sunday can't hurt.

The full 4-day top 10 after the jump.