Seeing as Jason was drowned in toxic waste in the previous chapter—and has been stabbed, shot, drowned, sliced, and diced more times than any other horror monster—it’s safe to assume by the time Part 9 rolls around that he’s basically immortal. However, “Jason Goes to Hell: The Final Friday” offers up the idea that it can be done, albeit as implausible as it is ill-thought. This movie is tough to review; it’s a critical nightmare, made up of sci-fi elements that undoes the ‘charm’ of Jason’s other romps, yet is enticing, meta-aware, and a needed conclusion to the franchise (I don’t consider “Jason X” cannon, rather a stand-a-lone that probably shouldn’t have tried). “Jason Goes to Hell” is very imperfect, yet ends a 13-year terror-a-thon with finality, which may be its saving grace.
I mentioned this movie is implausible, and it is. It opens with a sting operation on Jason as an attractive FBI agent lures him into the open where he’s shot by S.W.A.T. before finally being exploded by a grenade, his mask and heart the only remains. What happens next? Why mince words? A mortician (Richard Grant) eats Jason’s beating heart, and becomes Jason. Jason then spends the rest of the movie jumping in and out of one body to the next, trying to find one of his two blood relatives (Kari Keegan, Erin Gray) to become reborn and assume his ultimate form. On his trail are a) Creighton Duke (Steven Williams), a bounty hunter, and Steven (John D. LeMay), the ex partner of Keegan’s Jessica Kimble, with whom he has a child.
Okay. This is all very silly, and Director Adam Marcus (who wrote the story with Jay Huguely and Dean Lorey) sheds the stalking, campsite lore of Jason and basically has him lumbering around a town in one body or the other dispatching people like he’s stepping on ants. The kills are often brutal but not overly memorable; the only two parts of extreme gore in the film are a campsite killing of a coed that’s the series’ worst, and watching Grant eat the killer’s heart. I have to remind myself each time I watch this that it’s just movie magic; man, it is really gross.
John D. LeMay, Steven Williams, and Kari Keegan in “Jason Goes to Hell.” Photo: New Line Cinema.
The biggest problem with “Jason Goes to Hell” (that really does give the ending away, doesn’t it?) is that lovers of the franchise will doubtless take umbrage with Jason looking like regular men for most of the movie and be missing the iconic hockey mask. Before the movie’s over, he will assume the form of a two cops, a mortician, and a TV anchor, but the mortician really does him the most justice. Richard Grant is just able to imbue the killer with a sense of evil detachment and menace that the others—who appear mere zombies—cannot. I don’t see him mentioned anywhere in the film’s multiple Fangoria Chainsaw Awards, and that’s a travesty, honestly. I also don’t see this film nominated for any ‘Worst Film’ awards, so maybe that’s something, after all.
The acting is hit or miss, and aside the aforementioned Grant, really rests on Keegan and LeMay, who have some scenes of decent chemistry and relationship building. Most of the others are simply cannon fodder; you can tell Marcus et. al didn’t bother writing anything that answers for a backstory for any of them. The script inserts a lot of tough-guy bravado into Williams’ Creighton Duke, but he’s too meta to take seriously. He shines a bit toward the end, and that’s about it.
Kane Hodder here plays Jason for the fourth time and also acts as the film’s stunt coordinator. He does his usual brutal kill/heavy breathing M.O. that lines his portrayal of Jason. There’s a funny scene toward the beginning where Hodder, playing a S.W.A.T. member, calls Jason a ‘pussy’ that’s horribly meta; it will please this series’ biggest fans, but that’s about it. Most of the stunts involve Jason beating the tar out of Steven at the film’s end—what horror movies do when they have to keep a character around because the script demands it.
Going toe to toe with zombie Jason. Photo: New Line Cinema.
I suppose the ultimate complaint of this movie is it just doesn’t feel like a “Friday” film. There’s a lot of references to Jason—and we get to see the town of Crystal Lake for a change—but there’s really nothing to see here apart from a lot of sci-fi action and make-up effects. Aside from one scene there’s no mention of Camp Crystal Lake, or Jason’s legend besides him being a serial killer. Prior viewing of other “Friday the 13th” films are really the only reason to watch this film. Fans need closure, and “Jason Goes to Hell” gives it to them. Along the way you’re treated to a lot of ill-plotting, kills, and sci-fi treatment; it makes the film fit into no given box, or all of them. I’m not sure.
“Jason Goes to Hell” is a hard movie to critique. Sure, it’s bad, and were it not a “Friday” film there’d be little reason to watch it. It’s a series closer, and a chance to see the Jason saga end, and in that it excels. The closing shot—not to be spoiled if you haven’t seen the movie—is quite fun, and sets up a later film that was put off for far too long. But at the end of the day, this movie can be fun if you let go. Fans who want to see more hockey mask, stalking, and teen sex may not get their needs met. But others who just want to see the bloody thing end…I can imagine much worse stories than this, and it wraps things up with finality. The film’s worth at least one viewing; it’s up to you whether or not it deserves a second.
“Jason Goes to Hell: The Final Friday” is available to watch or rent from most streaming services.
