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Looking Back at ‘Friday the 13th: The New Blood’ Nearly 30 Years Later

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On the 29th anniversary of its release, we take a look back at Friday the 13th Part VII: The New Blood to discuss its place in the franchise’s history.

After killing off Jason Voorhees in Friday the 13th: The Final Chapter, producers alienated fans with a fifth entry in which that film’s Jason is actually revealed to be Roy Burns… a paramedic. Audience reception was so poor for Friday the 13th: A New Beginning that Paramount knew they had to bring the real Jason back in the sixth entry. And so they made him undead for Friday the 13th: Jason Lives, putting a highly supernatural spin on the series. But could the undead Jason gimmick last for another film? A lot was riding on the seventh installment, to say the least.

There was initially a cloud of confusion over what the seventh entry of the series should be (including a scramble to come up with new storylines after an attempt at a Freddy vs. Jason crossover fell apart for the first of many times), but Friday the 13th Part VII: The New Blood managed to inject some new life into the franchise with a storyline that essentially mashed together the worlds of Jason Voorhees and another horror icon: Carrie White.

The New Blood opened up the world of Camp Crystal Lake to other supernatural elements beyond “undead Jason” with the introduction of Tina Shepard, a telekinetic whose immense powers made her quite literally the strongest final girl in the history of the series. Tina, played by Lar Park-Lincoln, proved to be a worthy adversary for Jason Voorhees, embodying the core qualities of the traditional final girl and fusing them together with unnatural powers that rivaled the big guy’s. Simply put, she wasn’t just a final girl. She was a superhero.

Known primarily for his special effects work on some of the best horror franchises of the modern age (including Bride of Re-Animator, Halloween 4: The Return of Michael Myers, and A Nightmare on Elm Street 4: The Dream Master), director John Carl Buechler had only directed Cellar Dweller and Troll before making The New Blood. He proved to be a great fit for the practical effects-heavy series, as his work led to some great, seamless effects sequences in the film – from the punch through the chest to the awesome revelation of Jason’s monstrous face.

But Buechler’s contributions went further than that.

Buechler served as make-up supervisor on the Renny Harlin film Prison, where he met a stuntman/actor he would bring with him to Friday the 13th: The New Blood. His name was Kane Hodder, inarguably the most recognizable person to play Jason and the only one to play him for multiple films. His presence onscreen is imposing, and his walk and movements lent a personality to the silent, faceless slasher. You could say that Jason truly became Jason once Hodder put on the hockey mask. And we have The New Blood to thank for beginning Hodder’s reign of terror in the role.

The New Blood also gave us perhaps the franchise’s most iconic kill, wherein Jason shoves a camper into her sleeping bag, drags her through the forest, then slams her against a tree hard enough to kill her. The single smash is disturbing if not a bit comical, and made a huge impression despite being heavily trimmed by censors before release – as were many of the film’s kill scenes, which continues to anger and annoy fans to this day. Worth noting, the sleeping bag kill was so memorable that it was recreated for darkly comic effect in Jason X, wherein both the victims and the sleeping bags are doubled up!

The film’s ending, well, it’s a bit hard to defend.

In an absurdly confusing and unintentionally funny climax, Tina summons her dead father from the water to chain Jason and toss him back into the lake. Her father, dead for over a decade under the water but somehow none the worse for wear except for some muddy smudges, yanks him down into the water and then apparently disappears back into his watery grave.

Aside from the strange ending, this film is a noteworthy addition to the series that gave us John Buechler’s best directing work, the greatest performer ever to play Jason Voorhees, and one of the most iconic kills in the Friday the 13th franchise. Not too shabby, if you’re asking me.

The New Blood deserves to be remembered as, even if admittedly not one of the best Friday the 13th sequels, at least a surprisingly solid entry.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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