|
|
|
|
|
Jason Voorhees’s nemesis, Tommy Jarvis (Corey Feldman), is back for more in the fifth film in the series, Friday the 13th: A New Beginning. Unlike the previous four, this movie doesn’t open at the scene of the last movie—so we’re already in new territory. I know this doesn’t sound like much, but, with this franchise and genre, you latch onto any variation in the formula.
As the film begins, Tommy, still a 12-year-old, as he was in the last movie, watches as two idiots dig up Jason’s grave (on a stormy night, of course)—just for the hell of it. Naturally, Jason’s body comes to life and attacks the two boys. Then, turning, our hockey-mask wearing behemoth spies Tommy hiding in the woods and attacks the petrified young boy. But it’s all just a nightmare, as Tommy, now older (played by John Shepherd), awakes safe from his dream.
Over the course of the last few years, Tommy has been in and out of mental institutions and has been subjected to intense psychological evaluation after his confrontation with Jason at the end of Part 4. Psychologically scarred, introverted, yet prone to moments of violence, Tommy lives an inner, tormented life. All the better for us.
Moved to Pinehurst Rehabilitation Center for teens (located in what looks like a log cabin summer camp), Tommy gets a chance at a little more freedom and a new start. Tommy becomes the observer (as he does for most of the movie) and watches from the sidelines as one of the patients at the camp—the requisite fat kid who’s a little mentally challenged—is hacked to death by one of the other inmates. We can tell by Tommy’s eyes and mannerisms that something is building in the young man. Pretty soon, the area is struck by a series of brutal murders that are committed with Jason’s MO.
Interestingly, the murders seem to be censored even more in this Friday, as every death gets a quick cut or is hidden by camera composition (Tom Savini, you are sorely missed). Jason is also composed (shot-wise) differently in this sequel. For most of the murders, he’s never seen above the waist—no mask…nothing—until closer to the film’s climax. It’s clear that there’s something not quite right about this Jason. Still, during all of this, Tommy is having waking nightmares, as he catches glimpses of Jason (with hockey mask) in mirrors and in the garden.
This installment of the franchise presents the fans with an interesting psychological portrait of a victim of post-traumatic stress disorder, and John Shepherd does an adequate and believable job as the damaged survivor. Throw in a redneck mother and son as comic relief and a smart-assed little black kid, Reggie (fan favorite Shavar Ross), and you’ve got yourself a Voorhees party.
But what’s the twist on the formula? I can’t spoil it. Fans of the series know why this one is different. And for some, I’m sure, it’s a little disappointing. However, for me, there’s just enough of a twist in the tail to keep it interesting and entertaining.
Paramount once again presents a great re-issue package: director commentaries and making-of documentaries will keep fans happy. Once this re-issue collection is complete, fans will have a pretty comprehensive and definitive history of the series. Enjoy.
|
|
|
|
