The script doesn't play with the mythology at all, or take the chance to reinvent anything from the first round of sequels, but rather focuses on exposition and finding reason behind the defiantly illogical premise and the ludicrous creation that is Jason Voorhees. The series, started by Sean S. Cunninghambegan as competent and sober, only to become more and more intoxicated with camp and lascivious pleasures and, finally, collapsing into a pile of cheap, cheesy narrative gimmicks or grim gore.
The New Blood came out in the time of Scannerswhich may explain why anybody anybody! The premise is impossibly promising, letting the world's foremost expert on machete-wielding and general brutality loose on The City That Never Sleeps.
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After The Final Chapterthe most tonally acute and entertaining volume of the series, A New Beginning aled the beginning of Friday the 13th being denoted by gimmicks. Unfortunately, the script for this reboot is fucking idiotic, and mind you I'm taking into consideration how silly the other scripts are. In The Final Chapterwe're introduced to the young Tommy Jarvis, who becomes the hero of the series for three installments, the second of which being this bizarre, outlandishly harebrained reconfiguration, which sets Jason's fatal shenanigans in a home for troubled teenagers on Crystal Lake.
Not so surprisingly, it occurs in The Final Chapterwhich is the most well-directed and inventive volume in the franchise, in stiff competition with the deliriously entertaining sixth part, Jason Lives! As talks begin to pile on about the production of yet another rebootI decided to look at what has been most successful in the Friday the 13th films and what has rightly made them the subject of numerous parodies and cinephilic derision.
Read Next in horror. Hint: the fact that there's more nudity in these films than in the unused footage from Boogie Nights does not help. 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. Image via New Line Cinema. 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 Shiversnot to mention a of 80s horror films that used slimy worm-bug parasites as their Jason x nude scenes of choices.
In effect, the film becomes a case study in how many exercises in modern horror have grown sadistic and faux-realistic rather than imaginative and genuinely fun. 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 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.
The murders range from simple eviscerations to extravagant butchery, and the fact that the cast includes long-working character actors Crispin Glover and Erich Anderson gives the film a certain flair, something like B-grade star-power.
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.
It's the most balanced of the Friday the 13th series, landing somewhere between Animal House and Joseph Zito 's slasher classic The Prowlerwhich shares a director with The Final Chapter but never quite reaches for this film's level of bonafide strangeness. Image via Paramount Pictures. 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. Image via Warner Bros. He should've known that Jason is not much for competition.
Sure, it gets points for the Cronenberg cameo in the beginning, but the rest of this nonsense, including the sexually charged robot, is a tremendous bore. Not for nothing is this franchise the one that most accurately reflects the conservative nature of American society at the time, punishing purveyors of marijuana, booze, and pre-marital sex with brutality that's only second to the Bible itself.
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The tone here is actually pretty spot-on, straddling horror movie and sex comedy with just the right balance, and director Danny Steinmann has a way of highlighting the unique facial expressions of the victims and giving the environs an admirably loopy style. Friday the 13th remains the franchise most indebted to the psychology of sexuality, even if that's not what's really memorable about these films. The third chapter of the Jason Voorhees saga was where the direction got a bit more audacious, thanks in no small part to the film being released in 3D, which had seen a resurgence at the time.
For what would be the last of the original Friday the 13th films, paving the path for Freddy Jason x nude scenes. This wasn't the kind of performance Feldman was good at, but the film deserves points for swinging for the fences in this manner.
There's also a potent sense of dread, which hits early on when a young woman is murdered in broad daylight after accepting a ride from a stranger. Arguably the best and most telling sequence of the Friday the 13th series surprisingly does not include Jason Voorhees Kane Hodderthe infamous masked mass-murderer of horny teenagers and dope-smoking camp counselors in the greater Crystal Lake area.
The script loses its essential trashiness, but what's left is serviceable, if not always defendable. This is where we first meet Tommy Jarvis, Jason's primary nemesis, if there is one, and the final face-off between Corey Feldman 's Jarvis and Jason is actually pretty unsettling, tapping into some disturbing, if not entirely convincing psychology. 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!
The main thematic core of Friday the 13thor at least its most sustained and successful theme, is sex, of course, as it seems to be the one thing that sends the seemingly immortal Jason into one of his famously sanguine tizzies.
Jason Lives! There's a wider scope of machete targets here, and the palette of jokes, deaths, and overall interactions is much, much wider than in any other chapter of the franchise. The story here is boilerplate, with some amusing detours, such as the three toughs that bully the teens at the gas station and then make a trip to their cabins to harass them some more. This is one of those rare cases where trying to make sense or court realism actually damages the engaging, even impressive elements of these films; the main reason the reboot of the series failed on nearly every level is that it took up reason to explain Jason's miraculous abilities, as if any fan of this series was really hoping to have their feet planted in the ground while watching a film about a hockey-masked slayer who has survived more kinds of death than fucking Rasputin.
This reboot looks better, from top to bottom, than almost every other film on this list, with the possible exceptions of Part III and The Final Chapter. Not that long into The Final Chapteradolescent Tommy Jarvis, initially played by Corey Feldmansneaks a peak at a couple of the aforementioned randy teens undressing in a neighboring house and begins to giddily bounce, gesticulate, and roll around on his bed, unable to communicate the wild feelings that are beginning to bubble up in him, what with puberty just an awkward gym-class boner away.
For the rest of the film, the former kid-star is more than serviceable, and this film is as acutely attentive to the story's inherent psycho-sexual undercurrents than any other film on the list. The film's central conceit, involving Jason being frozen for decades and then "accidentally" thawed out in the future while being transported to Earth 2, is preposterous to say the least.
And Betsy Palmer's climactic appearance makes for just the right amount of gonzo, overtly theatrical madness to cap this grubby wonder.
And yet, director Jim Isaacknown more for his special effects work in Gremlins and David Cronenberg 's eXistenZdoesn't have nearly as much fun with the material as one might expect, turning in an expectedly formulaic yet lazily deed science-fiction dud. 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.
One of the founding works of the slasher sub-genre and, surprisingly, a still pretty rousing watch. Share Share Tweet. 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.
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The imagery is never much more than competent, but that almost works in its favor under these particular circumstances. 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 deaths are not particularly memorable, and the characters, even for Friday the 13thare written with little in the way of focus or even marginal resonance. The deaths aren't particularly interesting, and the social interactions don't have the punch of youthful energy that the franchise's best installments are driven by.
In theoretical terms, Jason's mutilation and destruction of so many bodies is his impulsive reaction and reflection of sexuality. The Final Chapter is the quintessential Friday the 13th film, tinged with comical moments similar to those that elevate Jason Lives!
This remains one of the first horror-comedies to gain popularity, and its screwball sensibilities see: the death of the chauvinistic paint-ball commando bind its wild, dark humor with a grotesque set of killings, including a woman getting her face crushed in the side of a winnebago, pin-art style.
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Look at me, ma! Jason Ranked List Jason X evergreen. There's a fuller sense of the world of Crystal Lake and although slasher aficionados might naysay the sillier bent of this entry, this boldness in tone makes Jason Lives! Indeed, sex is intertwined with death in these films, even more than in either the Nightmare on Elm Street or Halloween movies, although the latter certainly has its own unique consideration of sexuality and the psyche underneath roiling within its enthusiastic, chilling butchery.
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. Image via Paramount. Here, Jason didn't just stand in as the wrecking force brought on by the tinny, rotten Catholic righteousness of the Reagan era, which had been the basic machinery of the franchise up until the fifth iteration.
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Like the NYC slasher classic Maniacthe graininess of the film stock, the cheapness of the production de, 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.
Mind you, when Ms. Voorhees Betsy Palmer divulges a few lines of back story in the first Friday the 13thshe says that the teens were too busy having sex to save her poor Jason from drowning in Crystal Lake. 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 possibilities are frankly endless, and rather than choose one, the makers of Jason Takes Manhattan spend most of the runtime on the voyage-by-sea to Manhattan, with Jason taking on the role of a rabidly homicidal Ishmael.
That being said, the film enacts a twist ending that makes The Village 's final moments feel like peak Alfred Hitchcocka narrative decision so profoundly dumb that it taints even the more juvenile passages of this film, such as the sequence where a couple sings to one another while the man takes a long shit in a port-a-potty. Beyond this, Part III also deserves special placement for being the volume where Jason finds his hockey mask, taken off a particularly annoying, curly-haired teen who gets his kicks scaring his fellow counselors and friends. Miner would go onto direct insane horror concoctions like House and Warlockas well horrendous attempts at comedy Soul Man and drama Forever Youngbut here he gives the proceedings an energetic pace and attentive, competent camerawork, making for an admirably tight bit of trash.
Rather than toying with the franchise's middling tone, or finding creative new impasses in the story, or, hell, even getting more inventive with the deaths, this reboot simply takes the filmic DNA of the middle sequels and makes them more grim.
This is the one that stings. The performances are especially bad here, but even the encouraging plot of Jason on the High Seas doesn't come to much. Chris Cabin Articles Published.