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I Don’t Like ‘Jason Goes to Hell’ But Absolutely Love the Opening Sequence

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A pretty young lady arrives at Camp Crystal Lake. But nothing is as it seems.

I’ve never been a fan of Jason Goes to Hell, which is not-so-fondly remembered by most Friday the 13th fans. By the ’90s, the franchise had totally worn out the simple stalk ‘n slash premise that made it so successful, and in an effort to breathe new life into the whole thing, the idea was devised to have Jason die and then literally hop into the bodies of other people; turning them into crazed killers in the process. I suppose one has to mildly applaud the creativity, and at least somewhat celebrate Jason Goes to Hell for trying to be different, but alas, the film isn’t very good.

And don’t even get me started on the look of Jason in it. Yikes.

But the one thing I do love about Jason Goes to Hell (aside from the cameo appearance by Freddy Krueger at the end, of course) is the opening sequence, which has a level of brilliance you wouldn’t expect to find in the ninth installment of a dying franchise. In order for Jason to hop into the bodies of other people, he first had to be definitively killed off, and that’s accomplished in pretty clever fashion.

In the opening sequence, we see a black car driving to Crystal Lake, and at first, it appears to be a man behind the wheel. But once the car arrives at a cabin in the woods, we realizes that it’s actually a woman who has for some reason traveled to the iconic locale. She has her hair up in a ponytail and is wearing a baseball cap and jacket, initially making her look quite unlike your traditional Friday the 13th victim. And that’s because, well, she’s anything but your typical Friday the 13th victim.

After fixing a burnt out light-bulb, the woman heads into the bathroom to take a shower. She lets her hair down and gets completely undressed; the camera, in typical Friday the 13th fashion, lingers on her naked body. And this is where Jason Goes to Hell starts to feel very familiar. As if on cue, the lights cut out and ominous music begins playing. The door to the cabin mysterious flings open, and it’s not long before Jason Voorhees strikes. He begins chasing the towel-clad woman through the woods.

Eventually though, she stops running. Just as Jason is about to strike the fatal blow and end her life, massive spotlights light up the woods of Crystal Lake. The woman, clearly not a victim but rather a total badass who was expecting everything that just happened, acrobatically flips out of frame. FBI agents appear and blow Jason to pieces.

The reveal, totally unexpected to viewers at the time, showed that the whole thing was a setup. A beautiful woman, an FBI agent herself, was deliberately sent out to a cabin in the woods on a mission to bait Jason Voorhees so that he could be killed off once and for all. And in order to make sure he showed up, she was instructed to essentially play the role of a Friday the 13th victim. Get undressed. Take a shower. Wait for Jason. As expected, he showed up right at the very moment the woman’s clothes came off; when you think about it, a self-referential jab at the character.

You can almost see the “dammit, they figured me out” look on Jason’s face when he’s caught.

By this point in the franchise’s timeline, Jason had slain several groups of young people who dared enter his woods, and I just love the idea that the FBI had finally caught on and decided to use his penchant for attacking scantily clad young women against him. To see the franchise, within one of its films, acknowledge that beautiful women are Jason’s kryptonite was clever and pretty damn meta at the time, and though the whole “to catch a predator” concept of the opening went over my head back in 1993, I very much appreciate that whole sequence today.

Just when you think you’re watching another paint-by-numbers Friday the 13th sequel, Jason Goes to Hell quickly flips the franchise on its head, and for that, I can’t help but respect it.

As for the rest of the film… maybe it’s best we just don’t talk about it.

Writer in the horror community since 2008. Editor in Chief of Bloody Disgusting. Owns Eli Roth's prop corpse from Piranha 3D. Has four awesome cats. Still plays with toys.

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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