Tommy Jarvis goes to the graveyard to get rid of Jason Voorhees' body once and for all, but inadvertently brings him back to life instead. The newly revived killer once again seeks revenge, and Tommy may be the only one who can defeat him.
Still haunted by his past, Tommy Jarvis - who, as a child, killed Jason Voorhees - wonders if the serial killer is connected to a series of brutal murders occurring in and around the secluded halfway house where he now lives.
Mrs. Voorhees is dead, and Camp Crystal Lake is shut down, but a camp next to the infamous place is stalked by an unknown assailant. Is it Mrs. Voorhees' son Jason, who did not really drown in the lake some 30 years before?
The graduating class of the local high school is going on a luxury cruise with Jason Voorhees as a stowaway. The heroine Rennie Wickham believes she was almost drowned by Jason as a child. Jason eventually sinks the boat and kills many of the students on it, but many of them escape to Manhattan. A long battle with Jason ensues until Jason is washed away in the New York sewers by a midnight flooding of toxic waste. Written by
Jason Ihle <firstname.lastname@example.org>
(at around 55 mins) In the scene where Jason reaches through the porthole and grabs Rennie, Jensen Daggett was reportedly really terrified. Her face was just inches from a large and very sharp piece of glass that had become stuck in the window frame, and the actor who played Jason was (unknowingly) pulling her towards it. See more »
Rennie's mental image of young Jason keeps changing (hair and head shape) throughout the movie. Also, young Jason's right eye was the misshapen one in Friday the 13th. See more »
It's like this... We live in claustrophobia; the land of steel and concrete, trapped by dark waters. There is no escape, nor do we want it. We've come to thrive on it and each other. You can't get the adrenaline pumpin' without the terror, good people... I love this town.
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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.
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