Jason Voorhees is raised from his watery grave and sets about mutilating whichever nearby teenagers he can get his hands on. Sound familiar? It is.
But Rob Hedden has directed what is perhaps the best of the Friday the 13th films with more style and imagination than earlier outings. The Jason character is cast as a sort of anti-hero in this update of the series, and the result is a campy good time.
Crystal Lake's graduating class are shipping off to New York for their class trip, and when Jason is accidentally revived from the bottom of Crystal Lake by an anchor which snags a power line, he climbs on board for the ride. What ensues is a cruise to mayhem as many of the teens are slain en-route to the Big Apple, and the boat eventually sunk. There's a lot of energy and kinetic camera work in this piece, nearly enough to revive the series to presentable level, and many of the killings almost come off as gags.
Kane Hodder, affirming that he is, in fact, the *real* Jason Voorhees, resumes the role he took over in the previous film, and hams it up a bit on the streets of New York while remaining a menacing figure. He frightens the dickens out of a street gang, proves that you should never touch the third rail of a subway, even marvels at his likeness on a New York Rangers billboard.
The ending in the sewers is questionable at best, with Jason dissolved in acid while the spray never harms his cowering quarry, but Hodder is fantastic lurching around the subterranean corridors while clutching his steaming, monsterous face and wailing in pain. Do zombies feel pain?
Jason Takes Manhattan gives a fresh perspective on the old formula, with good, solid performances and a core cast of believable characters. The fact that it *is* an old formula weighs greatly on this otherwise acceptable film, and the result is a middle of the road thriller that can finally stand almost eye-to-eye with other suspensers not cursed with a "VIII" in the title.
On a side note: hardcore F13 fans typically despise this film, perhaps for its change of venue or relatively low body count. Regardless, this is a film that delivers its share of frights and laughs, and of course, a measure of "oh, yeah, rights."
But Rob Hedden has directed what is perhaps the best of the Friday the 13th films with more style and imagination than earlier outings. The Jason character is cast as a sort of anti-hero in this update of the series, and the result is a campy good time.
Crystal Lake's graduating class are shipping off to New York for their class trip, and when Jason is accidentally revived from the bottom of Crystal Lake by an anchor which snags a power line, he climbs on board for the ride. What ensues is a cruise to mayhem as many of the teens are slain en-route to the Big Apple, and the boat eventually sunk. There's a lot of energy and kinetic camera work in this piece, nearly enough to revive the series to presentable level, and many of the killings almost come off as gags.
Kane Hodder, affirming that he is, in fact, the *real* Jason Voorhees, resumes the role he took over in the previous film, and hams it up a bit on the streets of New York while remaining a menacing figure. He frightens the dickens out of a street gang, proves that you should never touch the third rail of a subway, even marvels at his likeness on a New York Rangers billboard.
The ending in the sewers is questionable at best, with Jason dissolved in acid while the spray never harms his cowering quarry, but Hodder is fantastic lurching around the subterranean corridors while clutching his steaming, monsterous face and wailing in pain. Do zombies feel pain?
Jason Takes Manhattan gives a fresh perspective on the old formula, with good, solid performances and a core cast of believable characters. The fact that it *is* an old formula weighs greatly on this otherwise acceptable film, and the result is a middle of the road thriller that can finally stand almost eye-to-eye with other suspensers not cursed with a "VIII" in the title.
On a side note: hardcore F13 fans typically despise this film, perhaps for its change of venue or relatively low body count. Regardless, this is a film that delivers its share of frights and laughs, and of course, a measure of "oh, yeah, rights."