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The second film touted to be the "Final" _Friday the 13th_ movie, and the second one to lie. Being honest, right out of the gate, I don't particularly like _Jason Goes to Hell_, and not only because of the negative sense-memory I have after playing a drinking game to it with straight Jack Daniels. But at least it tried some different things. Different tone, different look, different direction, different... Production company? It's still really not good, but it does sort of break up the marathon a bit by being something that no other _Friday the 13th_ quite is. _Final rating:★★ - Had some things that appeal to me, but a poor finished product._
***Great intro & first act, but kinda distasteful and convoluted with a cartoony last act*** Released in 1993, "Jason Goes to Hell: The Final Friday," aka Part IX, is the oddest entry in the series, along with the next one. But this isn't much of a surprise since three of the previous four installments were departures from the typical Friday formula -- Part V, VII (which features a Carrie-like character) and especially VIII (which switches the setting from Crystal Lake to a cruise ship and the big city). The prologue shows Jason back at Crystal Lake. How'd he get back there after the events in Part VIII? The ending of that movie didn't show Jason completely destroyed, so we must assume that he made it out of the sewers of Manhattan and simply gravitated back to his familiar stomping grounds, which is only about 75 miles away. Anyway, the opening is excellent and highlighted by the most stunning female in the entire series, Julie Michaels as Agent Marcus (which is saying a lot in light of the series having the best line of women of ANY movie franchise). Jason’s corpse winds up in the morgue in Youngstown, Ohio, and the film takes an interesting twist reminiscent of the 80's cult film "The Hidden." Other bizarre additions to the Jason Voohees mythos include a magic blade, a strange "Jason-Finder General" character and the disclosure of the only way the infernal monster can be killed and resurrected. I don't mind these revelations as the series was hackneyed after 8 films in 10 years from 1980-89, albeit still entertaining. Besides, there are enough typical Friday-isms to please fans of the series, for instance the entire camp sequence and the prologue, not to mention the return of an iconic character in the finale. Some fans object to the main revelation on the grounds that Jason is supposedly a misunderstood man-child and this movie changes that. Actually the only films fitting this model are Parts II, XI and the 2009 remake. Parts I, V, VI, VII, and VIII were more in line with the idea of Jason as a force of darkness & evil, the curse on Crystal Lake or whatever. And Parts III and IV had him killing a pregnant girl, psychologically torturing the heroine, and attempting to kill a boy after slaying his mother, so he wasn't exactly Lenny from "Of Mice and Men" as these critics maintain. Face it, although Jason may have been an innocent deformed child at one time, the seed of evil (possibly a demonic spirit) entered into his heart at some point and he increasingly became a hideous hellish monster and you have to give this entry credit for trying to fill in the bones with corpse flesh, whether you accept these surprises or not. Unfortunately, there’s a distasteful element to the proceedings, which is offset by the black humor a bit, and the final act goes so over-the-top with the action and horror shenanigans that the movie becomes cartoonish and laughable. A good example is the campy fight between the deputy and Steven. As such, "Jason Goes to Hell" is one of my least favorite in the series, along with Parts III and VII. Nevertheless, it’s entertaining enough and gets extra points for trying something fresh and interesting. Besides the awe-inspiring Agent Marcus in the prologue, we get a couple of cute campers, Deborah and Alexis, with Deborah (Michelle Clunie) particularly shining. There's also Jessica, who turns out to be the main protagonist, her mom (the goddess Erin Gray from "Buck Rogers") and Vicki from the restaurant. Needless to say, great job on the female front, but they coulda done more with Jessica. For those who care (I don't) this entry seriously ups the ante in the horrific gore factor. As far as locations go, this installment goes back to Southern California in the tradition of Parts III, IV and V; specifically the Los Angeles area: West Hills and Thousand Oaks. BOTTOM LINE: "Jason Goes to Hell" gets props for its radical departure from the Friday formula, even while containing “Friday” staples: youths, babes, Crystal Lake, slayings and so on. But there’s a disagreeable air despite the amusement and the final act spins out of control with quasi-horror zaniness. Still, any movie that features Agent Marcus and Deborah can't be all bad. The film runs 87 minutes (rated) and 90 minutes (unrated). GRADE: C+/B-
Decent watch, might watch again, but can't recommend outside a Bad Movie Night or a Friday the 13th Marathon. It's both refreshing and sad to see them try to re-invent Jason. As a fan of "Fallen" I like the idea of the villain transferring from person to person, but they twist the concept a bit more than I would have wanted at points. Adding a "chosen one" trope to this doesn't do much for me. Having a nearly unkillable villain alone should be intriguing enough, adding extra rules to it doesn't feel good. I'd like to see a Marvel style reboot where the government has to try to contain the heart, and they figure out the minimum safe distance, creating a facility around it with animals going nuts, and someone breaks in to find out what it is and is possessed. It's not a great movie, and it's probably a bad "Friday the 13th" movie, but I enjoyed it for what it is.
A priest with a haunted past and a novice on the threshold of her final vows are sent by the Vatican to investigate the death of a young nun in Romania and confront a malevolent force in the form of a demonic nun.
The all female crew of the transport ship Muse is on a mission in deep space. They pick up an SOS signal and discover a derelict space cruiser where all the women have died mysteriously. They take the only survivor, a young woman named Flair, and detonate the ghost ship. However, the danger is just beginning. With Flair on the Muse, the romances between the women begin to take a new turn. One by one, the crewmembers are attacked by a mysterious alien presence, desperate to find a way to reproduce with human women!
An obsessive young woman begins to believe that she's being haunted by the ghost of her recently missing best friend.
After undergoing radical surgery for injuries from a motorcycle accident, a young woman develops a strange phallic growth on her body and a thirst for human blood—the only nourishment that will now sustain her.
The discovery of a perfectly preserved caveman prompts a mad scientist to attempt a daring brain transplant.
A wagon load of convicts on their way to prison is being escorted through the mountains by a cavalry troop. They are attacked by a bandit gang, and only a sergeant, his beautiful young daughter and an assortment of seven sadistic, murderous prisoners survive, and they are left without horses or a wagon. The sergeant must find a way to get his prisoners to their destination while protecting his daughter, watching out for the still pursuing bandits and trying to determine which one of the prisoners was the man who raped and murdered his wife.
Bruiser is the story of a man who has always tried to fit in. He keeps his mouth shut, follows the rules, and does what he's supposed to do. But one morning, he wakes up to find his face is gone. All the years of acquiescence have cost him the one thing he can't replace: his identity. Now he's a blank, outside as well as in, an anonymous, featureless phantom. Bent on exacting revenge, he explodes. He isn't going to follow the rules anymore.
A woman communicates with a houseplant that was the only witness to a recent murder.
A sociology instructor finds her new teaching duties at a private college interrupted by the presence of a killer.
After his young son dies from the negligence at a hospital, Harry Fertig takes matters into his own hands and kills the doctor, nurse and clerk responsible. Slick lawyer Roy Bleakie, looking only to win a case and not caring of the matters involved, is asked by Fertig's boss to defend him. Shocked to hear that his client wants to plead guilty, the case causes Bleakie to question his own morals by defending an honorable man.