Vendredi 13, chapitre VIII : L'Ultime Retour

Every movie series has its ups and downs. This was definitely Friday the 13th's "down" For some reason, this movie just wasn't that great. Don't get me wrong, I liked it and all...just didn't have that thrill that the others had. It shouldn't be called "Jason Takes Manhattan". Should be something like "Jason takes a cruise" or something. Although Kane Hodder played a great Jason, the character of Jason in this movie was disproportional. His abilities and whatnot. Some of the characters were the worst in this movie, the acting was pretty bad. I do like some scenes however. But they didn't fully redeem this movie from the horrific outcome. I give this a 5/10, this is probably my least favorite of the series.

Renowned film critic Leonard Maltin calls "Friday the 13th Part VIII: Jason Takes Manhattan" the highlight of the series. Of course Maltin rated virtually every other "Friday" film a dud, so that's not saying much. In any event, he's wrong. But while this eighth installment is comparatively inferior to most that preceded it, it's not as bad as reputed outside Maltin circles.

"Jason Takes Manhattan" is one of those movies that's impossible to love unconditionally. There are simply too many flaws, from ridiculous plot elements (Jason can teleport???) and an uneven pace to a lack of chills and incompatible attempts at humor. Indeed this entry represents a bitter come-down after the absolutely stellar parts VI and VII.

In many ways, "Jason Takes Manhattan" doesn't feel like part of the franchise. The Jason here isn't scary like we know he can be. His deadly moves, be it the electric guitar impaler or decapitatingly powerful right hook, seem contrived. Kane Hodder looks like a guy in a Jason suit rather than the real deal. Director Rob Hedden fell into the trap of gore for the sake of gore, but that's never been what "Friday the 13th" is all about. It's all in the build-up, and sometimes, even in low-budget '80s horror, less is more.

With all of that said, "Jason Takes Manhattan" isn't a total loss. The mere sight of the rapidly decaying villain storming through the mean streets of the Big Apple is worth at least four stars. Aside from the change of scenery, the film offers a semi-compelling storyline or two. And the masked one does have his frightening moments, smashing through portholes and firing harpoons at horny teens. As usual, the climax -- this time a chase through the city and sewer -- is the highlight.

For better or for worse, "Jason Takes Manhattan" marks the last true "Friday the 13th." This was Paramount's last stab (pun intended) at things before selling the rights to New Line Cinema, which basically destroyed the series with absurd ideas like Jason switching bodies and rampaging through spaceships. Not great, but not godawful, this film carries limited appeal outside of fanboy circles.

After seven previous instalments, three of them at Camp Crystal Lake, it was time for a new locale for Jason to carve up his latest bloodbath. Non-filmmaker Rob Hedden, a former executive at Universal Studios, approached Paramount with the idea of putting Jason Voorhees in Manhattan. They loved the idea and he went to work on the script. Jason was going to jump off the Statue of Liberty, go boxing at Madison Square Garden, go on a killing spree on the Brooklyn Bridge, among others. Then Paramount vetoed the budget for filming in such locations and Rob Hedden had to quickly shift the balance. Jason would take Manhattan, eventually, but first he'd go for a long cruise.

With little continuity to Part VII, Jason is still stuck at the bottom of the lake, where Tina's dad left him in chains. Somehow Camp Crystal Lake has reappeared at the far side of the lake, even though it wasn't there before. A power surge gives Jason new life and the killing begins once more as he climbs on board a pleasure boat and makes light work of the kids inside. Somehow Crystal Lake is now connected to the Atlantic (actually Pacific) Ocean and Jason drifts downstream where he ends up on board the Lazarus, a pleasure cruise for teens who have just graduated from Crystal Lake High.

On board is aspiring writer Rennie (a very cute and innocent Jensen Daggett who was actually a teenager at the time) and her dog, her overbearing teacher/uncle Mr. McCulloch, English teacher Miss Van Deusen, and her estranged boyfriend Sean, along with the usual extra meat for the chopping board. As the ship steams off for New York Jason begins to off the meat in amusing ways.

Eventually, they arrive in Manhattan, for about five minutes before they end up in Vancouver doubling as New York. Part VIII has endured immense criticism over the years for failing to deliver much of the promise made by the title. It's perfectly valid. Why on Earth would Paramount approve the script only to not pony up the cash for the necessary locations? Despite this damning problem it's still fun to see Jason in a new environment. As much as I like most of the movies they really should have taken him out of Crystal Lake sooner and experimented.

Kane Hodder comes back for his second (of four) rounds as Jason and really does embiggen the role with his cromulent performance (Simpsons joke). The Jason make-up is rather terrible for this round, but it's mainly hidden behind the mask. This time he's all slimy and gooey (and rather cute and cuddly, strangely) and game for some welcome humor. There is a scene where they apparently try to make his teleportation powers apparent when he's stalking Kelly Hu's character, but I don't think that this was in the script, it comes across as a joke by editor Steve Mirkovich who tried to have fun with the scene in post-production instead of something that Ron Hedden intended. Though we're talking about a man who wrote a scene where Jason swims many miles to Manhattan docks when the reason he's dead in the first place is because he drowned as a child due to his inability to swim.

There's plenty of shortcomings, but it's slick and fun, if a little goofy. It does deserve criticism, but not hate. Keep a lookout for the scene where Jason smashes through a greasy spoon diner. That angry cook he throws against the wall is none other than Ken Kirzinger who would go on to play Jason fourteen years later (much to Kane Hodder's annoyance) in Freddy vs Jason. I suppose that scene is sort-of Jason vs Jason.

I'd been told from multiple sources that Jason Takes Manhattan is a weak link in Jasons legacy. Though hardly impressive I'd say its no worse than many of the others.

Finally taking Jason away from the camps we see the majority of the movie take place on a ship with it's perhaps last third in the bustling city of New York.

Same cut away deaths, same lack of storyline, but same Friday 13th charm. Also Kane Hodder is Jason so that's an immediate win right there.

I do have to ask, what is it with Friday 13th and inconsistencies and poor endings? This one is no different and I feel like I could rant about it for an hour but will resist the urge.

Jason Takes Manhattan is a worthy addition to the franchise even if the events that transpired in the finale are not explained in part 9.

The Good:

Kelly Hu

Kane Hodder

Refreshing new setting

The Bad:

Why'd they have to kill off such a great character so early?

Ridiculous ending

Weak deaths

Another attempt to shake some life into the franchise, relocating Jason to a major city for the promise of unmitigated slaughter. Two problems: the film might have been more accurately titled Jason Takes (a cruise to) Manhattan, since he's ship-bound for all but the final half-hour, and he doesn't really concern himself with anyone apart from the vessel's survivors once he's there. This is a guy who's made a habit of ruthlessly eviscerating everyone he's ever encountered, yet now he passes harmlessly through a loaded subway car and cheerfully lifts his mask to scare a gang of punks like a haunted house denizen. Production values have taken a significant step up since Part VII, and the gore feels somewhat less censored, but it's failed by yet another repetitive, hole-laden plot and a reliably godawful set of actors.