The deaths are largely boring on the boat, but once we get to Manhattan, the film lights up with irreverence, most notably in his elongated fight with the boxing champ on the roofs of New York City. Sequences as aggressively bizarre as these only end up teasing what could have been if the film had shown even a modicum in interest in fulfilling the promise of the film's title.
The New Blood came out in the time of Scanners , which may explain why anybody anybody! In this case, the telepath also happens to be a curious and damaged blonde, who accidentally brings Jason back from the dead when she begins to remember how she killed her father with her powers on the very same stretch of Crystal Lake property. Yes, it's convoluted, and the fact that the telepath storyline is given a bogus sense of self-seriousness bogs The New Blood down hugely. The deaths are not particularly memorable, and the characters, even for Friday the 13th , are written with little in the way of focus or even marginal resonance.
For what would be the last of the original Friday the 13th films, paving the path for Freddy vs. Jason and the aforementioned reboot, the creators of the series burdened its monster with a borderline impressive amount of batshit backstory, none of which matches up with the mild lunacy of the rest of the series. The influence of Cronenberg flourishes here as well, as this volume deals largely with body horror and demonic worm-like creatures like the ones audiences could find in Cronenberg's Shivers , not to mention a number of 80s horror films that used slimy worm-bug parasites as their monster of choices.
Jason Goes to Hell has a high concentration of memorable deaths, and the film openly buys into the nonsensical tone, but the gimmicky story once again gets in the way of the basic chemistry, making for an interesting experiment in genre but a totally unsatisfying watch. There may be no line as repugnant and cringe-worthy in the entire range of Friday the 13th and Nightmare on Elm Street entries than "How sweet, dark meat. Those expecting John Carpenter or Wes Craven to take on such an auspicious cinematic event were dreaming, but Chinese action guru Ronny Yu made shadowy, stylish work of the ultimate horror-legend showdown.
The script loses its essential trashiness, but what's left is serviceable, if not always defendable. Here's where we first meet Jason, sporting overalls and cloth sack with an eyehole, taking over the lakeside killer mantle from his mother. The film begins with Voorhees beheading the woman who decapitates his mother, and there's a scrappy, no-budget energy to this primordial tale of Crystal Lake's most ornery resident.
The deaths are mostly mild, though this film has a narrative tightness that's similar to the inaugural film and the far more eclectic Part III in 3D! Miner would go onto direct insane horror concoctions like House and Warlock , as well horrendous attempts at comedy Soul Man and drama Forever Young , but here he gives the proceedings an energetic pace and attentive, competent camerawork, making for an admirably tight bit of trash.
One of the founding works of the slasher sub-genre and, surprisingly, a still pretty rousing watch. The imagery is never much more than competent, but that almost works in its favor under these particular circumstances.
Like the NYC slasher classic Maniac , the graininess of the film stock, the cheapness of the production design, serves for ideal environs for this inaugural murder spree, with Mother Voorhees slicing up a pack of counselors fixing up the ol' Camp Crystal Lake. It might be a pleasant diversion to watch some modern teens get wrecked by Jason, but the film has nothing new to say or contribute. In the year ! Obligatory Plot: A woman who apparently once had a run-in with Jason while he was chilling in the woods travels up to a farm with a group of friends.
Jason shows up to take care of business. Death Count: 12 Money Shot: Note the movie is also known as Friday the 13th Part 3-D , which explains all the yo-yos and baseball bats that keep flying at the screen. Verdict: This chapter gives Jason his hockey mask, but it also gives the series its dubious sense of humor. Great, goofy characters, but perhaps too zany to be one of the greats. Obligatory Plot: An unstable psychic girl unwittingly frees Jason from his chains deep in the lake, and after he wanders through the woods and wastes some photogenic campers, he comes for her.
Verdict: The psychic melodrama is outrageous, but this serious-minded entry keeps its head together for the most part, and the final battle is awesome. Obligatory Plot: A group of teenagers travel to a vacation house next door to a family that lives in the middle of nowhere. Considered by fans to be one of the very best movies in the franchise, this film was originally meant to be the final installment. It introduces Tommy Jarvis, played in this movie by Corey Feldman, and stuntman Ted White's depiction of Jason just may be one of the very best versions in the franchise.
It has fantastic kills, fun characters, great chase scenes, and it is an enjoyable thrill ride from beginning to end. This is the latest installment of the franchise to date. It is basically a remake of the first few classic films in the series. It involves a group of young adults staying at their rich friend's cabin at Crystal Lake, and they meet a man, played by Supernatural 's Jared Padalecki , who is searching for his sister who has gone missing.
It is an okay entry in the series that basically repeats the formula of other Friday The 13th films. It just does not have the cheesy '80s charm that also plays a big role in those earlier entries.
In the follow-up to the classic original film, a camp counselor-in-training program starts near Camp Crystal Lake, and murders begin to happen once again. This is the first film in the franchise with Jason Voorhees as the iconic killer. He may not have the hockey mask in this movie, but that does not matter since the film relies on suspense, good chase scenes, and fun characters in order to make it memorable.
The final girl, Ginny , is arguably the series' very best, and her confrontation with Jason in the shack is one of the best moments in the entire franchise. A young girl with telekinetic abilities accidentally kills her father at Crystal Lake. Years later, she and her mother return in order to work with her doctor on moving past that painful event.
However, the doctor, played by Weekend At Bernie 's Terry Kiser, wants her to use her powers for his personal gain.
When Jason comes back to life once again, the telekinetic young woman must use her abilities to fight for her survival. The town of Springwood has managed to suppress the memories of the supernatural nightmare, and without knowledge of his existence and the fear of him, Freddy has faded away.
In an effort to get his power back, and bring terror back to Springwood, he decides he can drag the damned Jason Voorhees out of hell and let him loose on the sleepy town. Finally, the nightmare himself comes up against our boy Jason. References to prior entries in both abound, and the general feel of things seems quite inspired by the post- Friday the 13th Part VI slasher landscape, with self-awareness healthily mixed with a focus on the blood-soaked action, plus a dose of comedy to top things off.
The Nightmare on Elm Street films have always been kings of creative kills, and mixing with Friday leads to a pretty incredible highlight reel for slasher fans. When it boils down to it, Freddy vs. Jason is a dream match meant primarily as fan service, and it exceeds expectations in that regard. The beginning of it all, what began as Sean S.
Cunningham trying to ride on the wave Halloween made turned into a phenomenon of its own. A few years after the unfortunate drowning of a child staying at Camp Crystal Lake, as well as a grisly double murder, a group of camp counselors returns to get the camp back in good condition to reopen.
It may be a fairly low-budget film, one built on hopes and dreams as things went on, but everything comes together smoothly and fluidly. Cunningham brings an obvious passion for the horror genre into indie filmmaking.
Through some expert use of voyeur shots and some well-managed mounting tension Friday the 13th stands the test of time as a thrilling slasher film. Friday the 13th had all the right people to get a good start, from Cunningham as a passionate newer director, to the legendary Tom Savini in the makeup department, and a talented composer who brought the terror to life in Harry Manfredini.
Manfredini really brought fireworks to the film, with the decision to make the audio more subdued, without a backing music track outside of scenes where the killer is present.
This makes a tense buildup, and a chaotic ending sequence that sticks in the mind. Despite being a large step away from what the series would eventually turn into, the first Friday is a gem of a horror film diving into how far a deranged woman would go to avenge her son, and how terrifying isolation can be.
And the golden machete goes to Part VI. Old trauma kicks up and sends him into a rage, stabbing the corpse with a metal rod which then gets hit by lightning, reviving good old Jason once more. Sure, things are goofy, over the top, camp in spots, and intentionally comedic in others, but it never goes too far off the rails.
This is the inspiration for Scream , I would also point to this as the birth of pastiche in slashers, something that makes the genre so damn enjoyable. Thom Matthews, hot off his amazing role in The Return of the Living Dead , is a perfect choice for Tommy, replacing John Shepherd in the role and bringing real energy to it. Things can be a bit tense, things get gory very quickly, but Part VI never loses sight of the good time a slasher film can be.
Unfortunately, C. The original Friday the 13th is an incredible film that helped kick a subgenre into hyperdrive, but Part VI has that something special that gives it the edge. Not just a fan of punk music, he's spent most of his life obsessed with the horror genre across all media, Japanese cinema, as well as pop culture in general. Your email address will not be published.
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