Urban legends in general are quite fascinating to me. I’ve spent many late night hours reading through whole websites dedicated to these modern day myths, and they are a fertile ground for an imaginative horror movie. Of course, this movie came out in the wake of Scream and does a lot to follow in that style. Unfortunately, it was an extreme rarity that any of those types of trend cash-ins were any good. I clearly remember seeing this on opening weekend and regarding it as not scary at all. In no way do I expect that sentiment to change after fifteen years. I’m reviewing this because it was high time I got back to some very critical reviewing, and nothing’s better than a disappointing post-modern slasher film for that task!
When New England college student Natalie (Alicia Witt) finds herself at the center of a series of sadistic murders seemingly inspired by urban legends. Natalie and her friends are all involved in the Folklore class being taught by Professor Wexler (Robert Englund). Wexler regales his class with urban legends, which include Pendleton’s own urban legend about a Psych professor who murdered six students at Stanley Hall 25 years ago. As the fraternities prepare to celebrate the macabre anniversary, and Natalie’s friends fall victim to this axe wielding murderer, she discovers that she is the focus of the crazed killer’s intentions in the ultimate urban legend – the story of her own horrific murder.
This is not a badly made movie. It has respectable, polished production values and top notch gore effects. Cinematography is wholly competent with solid compositions and smart camera moves punctuating the dramatic moments. The editing is mostly great, side from the gimmicky flash cuts. So, I think the problem with the effectiveness of this movie is that these urban legends are so terribly familiar to us that the movie becomes damn predictable. There’s little tension or suspense when you know how the kills are supposed to be plotted out. While playing them out verbatim perfectly fits in with the killer’s ultimate motives, creatively, it would have been more effective to put a fresh twist on them. Have them play out not exactly as you would expect them to, but still be evocative of the classic tales. Of course, the various false jump scares don’t help matters either.
The red herrings we get as to the identity of the killer are also quite underwhelming. They are dashed about as quickly as they are brought up. This sort of thing worked better in Scream where no one was ever entirely absolved of potential guilt in the eyes of the audience. Everyone was an equally viable suspect, but here, the suspects are not very credible nor are they main characters. They show up for two or three scenes total. The main characters are not implicated as the potential killer, and that evaporates a lot of heightened tension and paranoia that could have existed in the movie. As it is, there’s not much focus put on who the killer is, but more the methods that this killer uses.
And one last negative critique would be that the look of the killer is not all that intimidating. A relatively small statured person in a hooded parka leaves a lot to be desired in the realm of chilling imagery. All the great, iconic slashers have not only a instantly recognizable, unmistakable look to them, but they also have a distinct personality in how they move and act. This slasher, which doesn’t even have a name to its credit, comes off entirely generic with no distinct personality in its movements. This takes away a lot of the menace this killer could have had, and thus, further adds to the lack of effective horror in this movie. While Ghostface was a different person in each Scream movie, the image of Ghostface was iconic and carried a strong weight of horror with him. The Urban Legend slasher is just terribly forgettable. If this killer wasn’t wielding an axe, you wouldn’t feel any serious imposing threat from him/her at all. I think my critiques hold weight with the makers of the sequel Urban Legends: Final Cut since they entirely revamped the look of their killer.
Still, the film has a few exciting sequences such as when the killer is chasing Tara Reid’s Sasha. It’s fairly intense and suspenseful as Sasha tries to evade this axe wielding maniac. Shortly thereafter, the climactic chase sequence in the storming rain is pretty good with some good tension and strenuous physicality for Alicia Witt. Proving my point, this is when the killer turns away from urban legend themed kills, and just starts going after people full boar. These are the scenes that work because they’re not so predictable. They keep an audience more on edge in the midst of random peril. They’re surely not wholly original inventions in the slasher genre, but they are staples of it because they are effective. So, it is that final 20-30 minutes which actually become intense and suspenseful, but for a 100 minute horror movie, that’s not very adequate.
On the acting end of things, Alicia Witt delivers a solid leading performance making Natalie sweet, vulnerable, smart, and tough. I like when she punches Joshua Jackson’s Damon Brooks right in the face after a bad come-on in a parked car showing there’s some assertiveness in her. Witt is a strong actress with a lot of talent to her credit. Plus, she’s a beautiful redhead, and I absolutely adore redheads. Jared Leto has a decent performance here as college newspaper reporter Paul Gardner, but his character just doesn’t have much personality on the page to speak of. Paul’s constantly trying to pry information out of everyone for his news story, but he doesn’t come off as the least bit imposing or ethically objectionable as that statement would suggest. Rebecca Gayheart is a fine talent working well as Natalie’s best friend Brenda, but offering little more, initially, than the qualities of the supportive friend. The latter end of the film gives her a lot more juicy material to work with that she really sinks her teeth into, and does an excellent job with.
Now. Michael Rosenbaum is plain awesome. After seeing him for so many years as Lex Luthor on Smallville it’s great seeing his comedic charisma in full swing here as the fun loving Parker. He’s charged up with energy and personality to spare, but Rosenbaum has enough charm to shy it away from becoming obnoxious. Tara Reid has a great promiscuous role as the saucy, sexually charged radio talk show host Sasha. Halloween franchise alumnus Danielle Harris clocks in as Natalie’s Goth roommate Tosh. It’s a good minor performance, and she looks quite hot in all that black garb.
Urban Legend features some notable horror legends in Robert Englund and Brad Dourif. Both of which put in solid performances. Dourif portrays a stuttering gas station attendant at the film’s start, and he’s sufficiently creepy. Englund gives Professor Wexler plenty of dignity and a little bit of theatrical edge for a strong, respectable performance. Both actors put a good measure of enthusiasm and quality into their roles here, and are small highlights that gave this film particular notoriety upon release.
The film’s score is provided by Christopher Young, who also did the music for the first two Hellraiser movies and last year’s highly effective horror film Sinister. Here, he does a far more understated but still admirable job. It has plenty of strong, tense cues throughout, and is probably a notch above the standard slasher film fare.
Now, I do really like the dark, shameful secret that Natalie has in her past, and how it ties into the motivation of the killer. It is all smartly and realistically put together. It makes for a nice twist in the climax that does get setup from Natalie’s story earlier on. The climax itself is pretty decent and typical for a slasher movie, but it’s surely far from terrible. It delivers some satisfaction, but it’s nothing that will stick with you like the endings of Halloween or Friday The 13th. The somewhat quirky coda fits for the movie, but also, doesn’t make a lot of sense. It could’ve used a better resolution that was more pertinent to the actual characters and story. It kind of goes with the half-baked feeling of the movie. It had good ideas, but just didn’t do anything worthwhile with them.
Ultimately, this is a real disappointment of a slasher film that just isn’t scary at all. They had a very talented cast to work with, and a premise that could’ve worked very well if it injected some original thinking into it. Instead, it just comes off as generic and predictable. The killer is entirely forgettable, and offers no menace or threatening presence. Director Jamie Blanks does a respectable job with Urban Legend, but the script is just devoid of ambition. He handles his cast exceptionally well, knows how to shoot a film very cinematically, and shows some talent for suspense. Yet, the film fails because the script uses a gimmick purely at face value without trying to add anything fresh or innovative to it. A killer offing people using urban legends is a clever idea, but screenwriter Silvio Horta progressed it no further than that. I know Jamie Blanks can make a good slasher movie because he did it with his next film Valentine, which I think is quite underappreciated. Given a stronger script, he can certainly deliver a much more effective product. It certainly won’t hurt you to watch Urban Legend, but it’s nothing special you’re missing out on. It did spawn two sequels that really were rather horrible that I would strongly advise avoiding. I saw them each once, and that was more than enough for me. This film is decent enough if you just need a mild way to kill 100 minutes. It likely won’t make you cringe, depending on your slasher film tastes, but it likely won’t excite you either.
So, Jason Voorhees has been hacked to pieces, and Paramount decided to launch a new direction for the franchise. Fortunately, it was short lived with this lower grade, poorly conceived sequel trying to position Tommy Jarvis as the new killer of the Friday The 13th films. Quite frankly, this has a lot wrong with it right from the start, and it’s easy to see why Paramount quickly rebounded with the far superior Jason Lives. I’ve just never really liked this entry much because of it’s very direct-to-video production quality, bland execution, and lack of decently written characters. The director and screenwriters simply did not have the talent to make this a good movie, regardless of the MPAA cuts.
A few years have past for Tommy Jarvis (John Shepard) since he saw Jason Voorhees killed, and after some time in a mental institution trying to recover from those horrific events, he’s been transferred to a halfway house far from Crystal Lake. Unfortunately, soon after his arrival, a volatile young patient named Vic Faden suddenly murders the young, obnoxious, and obese Joey with an axe. Shortly thereafter, it seems as though Jason has been resurrected from the grave to murder more people. Meanwhile, Tommy suffers from hallucinations of Jason repeatedly, and they are slowly driving him mad. As the bodies stack up, and Tommy seems to have disappeared, suspicions intentionally fall upon him. However, it eventually becomes clear to the audience that this is not the work of Jason, but of a mysterious imposter using the Jason lore as a façade for his murder spree. The aftermath of this violent experience hints at a new direction for the franchise that would quickly be discarded after backlash from the fans.
Firstly, John Shepard does a partially good job as the new Tommy Jarvis. I think a lot of the hallucination scenes are excellently handled giving Tommy an obvious mental imbalance. However, a lot of Shepard’s screentime is him standing or sitting around silent and introverted. Shepard doesn’t put any effort into making Tommy seem like a troubled young man outside of those hallucinatory freak out scenes. The screenplay doesn’t give him anything to do to showcase such behavior. He also has almost no character interactions in this movie, and thus, it doesn’t give Shepard much to work with. So, it’s a fine line to divide this issue which can also cut towards director Danny Steinmann’s way since he also co-wrote the script. Instead of directing Shepard to demonstrate that internal turmoil, he just has him be a blank slate that shows nothing of what Tommy is going through. Still, in the vast majority of his screentime, John Shepard just fills up the frame, and even in the big climax of the film, he still comes off as a waste of space. Corey Feldman, who does cameo as Tommy in the opening dream sequence, did a stunningly impressive job with the diverse range the character of Tommy Jarvis offered in the previous film. He hit everything dead-on-the-mark, and made a powerful impression throughout the movie. There is nothing within John Shepard’s performance to remotely equal that exceptionally well-rounded and captivating performance from Feldman. In the following film, Thom Mathews would serve as an excellent hero for this franchise, and do so much more than Shepard even tried to do in this sequel.
The mood and scares are decent enough. I especially feel Violet’s stalk and slash death scene is exceptionally effective with the soundtrack of “His Eyes” by Pseudo Echo behind it. Unfortunately, you definitely get very little gore due to the MPAA’s stringent standards of the time. Still, the big problem of this film is the lack of decent characters to give a damn about. There are a lot of random people added to the body count who only show up for one scene to get killed. That’s one sense of why I feel it comes off like a bland and cheesy direct-to-video movie. You can contrast the characters in this film to those in A Nightmare on Elm Street 3: Dream Warriors. The main characters in both are all in a mental health facility with their own quirks and personal issues. In Dream Warriors, the roles are smartly written and greatly cast to create a very strong ensemble of young characters that add vibrancy and emotional relatability to the film. In A New Beginning, the characters all seem very under-developed as if they are just there to just fill up the screenplay. They are not given any depth or background, let alone particularly likable aspects They either come off as too weird, too irritating, or just uninteresting. They bring no life to the film for an audience to really get scared for them, and the casting is not all that memorable. There are some decently entertaining bits here and there with one or two characters, but other characters are just blandly written or underwhelmingly acted. Nobody stands out. They all blend into the background creating a film with no real tension, energy, or charisma. Considering The Final Chapter and Jason Lives have two of the best young casts of the series with nicely fleshed out characters that are memorable and enjoyable, this makes A New Beginning even more of a sore thumb in the franchise. Horror and suspense work best when an audience cares about the characters in the story, and I really could not care less about these.
While, like I said, the mood is decent, I do feel this movie is lit a little too brightly. It feels a little too slick and polished taking away the dark and gritty feeling the series had up to this point. That takes away from the effective, harder edged horror atmosphere the previously films generally had. Plus, without having some abundant, high end gruesome gore effects to elevate the graphicness of the film, it all just feels cheap. The Final Chapter felt like a franchise high point as a standard bearer for what a slasher film should be. This film is just the opposite. It shows the bottom of the barrel quality of what the genre should avoid becoming.
The direction of Danny Steinmann is just not very good. I know there are far worse, more ineptly made movies out there, but for a mainstream horror franchise, this is as bad as you’d ever fear it would get. Again, everything is cheap – the characters, the gore, the cinematography, the story, and the screenplay itself. Steinmann co-wrote this with Martin Kitrosser, one of the writers of Friday The 13th, Part 3, a film that shares many of the same problems as this one, only not to this degree. The third writer, David Cohen, wrote two other films no one’s heard of and that was it. Steinmann never made another film after this one, and it is severely evident why. This is not a theatrical release quality film. It does reek of direct-to-video quality with its abundant cheesiness, poor script, and bland direction. The attempt to make Tommy seem like the killer in this is lazily handled. The film tries to throw a number of red herrings into the mix, but really, it plays up no mystery aspect whatsoever. It’s entire intent is to push Tommy to becoming the new killer of Friday The 13th, but puts nearly no effort at all into fooling you into believing he might be the killer at large. Anything that is dropped in to allude to that seems like a weak afterthought.
I’m not singling Steinmann out for any personal reason. His 1984 revenge exploitation film Savage Streets has a strong cult following, and while I have never seen it, I am generally intrigued to see it. With that cult following, it does seem to say that Steinmann was capable of making a satisfactory film filled with violence, sexuality, and grit. Maybe Friday The 13th, Part V: A New Beginning was just a wrong choice of film for him, or he worked with the wrong creative team. Anything is possible, but the fact remains that he did not handled this movie well in any creative aspect. Even if the gore was re-instated into the film, it would not make up for the poorly executed story, the flat characters, or the overall cheesiness of the film he made.
And it’s hard to even be fooled into thinking this is Jason Voorhees back from the dead. Frankly, he looks and moves more like a poor Michael Myers imitation than a decent Jason Voorhees ones. The blue coveralls, the slender build, the more mechanical movement, and the lackluster hockey mask just scream “bad imposter.” Even the old VHS box cover couldn’t get the hockey mask right. It looked like some cheap plastic mask you’d buy at the corner drug store. Everything about this film just drives home the fact that this isn’t Jason, and we’re not even trying to fool you. Conversely, the Jason seen in Tommy’s hallucinations looks very authentic in every detail. Now, that clearly shows that the filmmakers could have given the imposter a more faithful design to heighten the second guessing of whether this really was Jason or not, but chose to just cheap out on that aspect. They even still give this regular mortal man superhuman strength, just like Jason, but in every visual aspect, he clearly is not Jason Voorhees. It’s simply bad conceptualization and poor execution.
The climax is easily one of the weakest of the franchise. I really did not like having some wise-ass kid running around this film in Reggie, and him being part of the climactic action is just cringable for me. He’s treated like a big hero in the whole thing, and there’s even a big music cue to support that intention. I simply couldn’t get invested in these weak characters to really care who survived or if there was a true protagonist here. Tommy is such an inactive part of the story that the film, in order to build suspicion that he’s the killer, is able to have him disappear for a good long while, and it doesn’t make a single bit of difference at all. It’s very hard to sell Tommy as a potential hero when, at the same time, you are lazily trying to sell him as the potential villain. It just comes off as very shoddy work. This is a script that just meanders from one death scene to the next with no idea of what story it’s trying to tell.
All in all, this is really a sad sequel that delivered next to nothing worthwhile, and Paramount heard the cries of fans everywhere regarding it. They ignored what this film attempted to setup for the Tommy Jarvis character, and took the following film into a far more satisfying and enjoyable direction. I think it was a very fortunate turn of events that Corey Feldman was already working on The Goonies at this time, and could only do a single scene cameo. It undoubtedly gave his career a massive boost to be working with great filmmakers like Richard Donner and Steven Spielberg on an eventual blockbuster instead with Danny Steinmann on a low grade slasher sequel. Again, there are vastly worse films you could subject yourself to, but there are also so many better slasher films around than this sad entry in the Friday The 13th series. However, there is one worse entry in this franchise, in my opinion, but it’s much, much further down the line in the New Line Cinema era.
There are few sequels that manage to improve upon the original, and even fewer in the horror genre. However, when the main filmmaker behind the project is superior to the original, it is no surprise. This was Steve Miner’s directorial debut, and of course, no one could anticipate anything of his quality at the time. However, he has gone on to have a very successful career as a director of films and television, and so, in retrospect, it is easy to see that Friday The 13th, Part 2 was in more versatile hands than the original. This is indeed my favorite film of the classic formula, despite being in the pre-hockey mask era. This is a good, classic piece of horror cinema, and I want to detail why it was a marked improvement over the first film.
Two months after the events of the previous film, Alice Hardy (Adrienne King) is trying to put her life back together, but that is short lived as she is murdered in her own house by a silent killer. Five years later, Paul Holt (John Furey) is opening up a counselor training camp near the now shut down Camp Crystal Lake. Holt is joined by many young men and women including, among others, the practical joker Ted (Stu Charno), the wheelchair bound Mark (Tom McBride), the sly Scott (Russell Todd), and Paul’s spirited girlfriend, the film’s female lead, Ginny Field (Amy Steel). The locals like what he’s doing with these young people, but don’t like that he’s doing it so close to “Camp Blood.” Paul even tells the story of Jason Voorhees around a campfire, but with a jokey scare at the end treating the legend lightly. Even the prophetic warnings of Crazy Ralph (Walt Gorney) don’t scare them away. As night falls, while some go into town for a fun time, many of these teens begin to fall prey to the film’s new killer, an adult Jason Voorhees seeking vengeance on anyone who treads through his domain.
Okay, before the true highlights begin, I do have to admit that the special make-up effects are not as good with the departure of Tom Savini. That is almost inevitable as his talent is not easy to replicate. At this time, Savini went to work on the Friday The 13th rip-off The Burning. It is a film I did see many years ago, and did not care for at all. It is only a shame that I had to purchase the VHS tape to see it. That aside, with this film, Carl Fullerton and his team still deliver some high quality physical effects that serve the film well. It is merely a disservice, as would become a regular stinging point for the franchise, that the MPAA required numerous cuts to be made to tone down the violence and gore.
The pacing this time out is increased and steadier. The film begins with a great suspenseful sequence that jump starts the hearts of the audience. The character introductions are more tightly woven together, allowing for the film to keep moving forward instead of lingering. The kills are nicely interspersed throughout the movie to maintain the tone it sets from the start. It keeps an audience gripped into the film as the terror continually stalks these characters.
Speaking of such, we are treated to some charismatic and enjoyable characters this time out with more distinct personalities than before. The actors in the prominent roles such as John Furey, Amy Steel, and Stu Charno are great and memorable. Furey nicely projects Paul Holt’s maturity and level headed sensibility while still being a light-hearted, fun loving guy. Ginny is a fun challenge for Paul, but it is clear they have a lot of affection for one another. Amy Steel portrays her with a lot of likability showcasing an assertive attitude that is playful. She displays intelligence while still being able to have fun. Ginny has enough strength to carry her through the madness of the climax, but surely shows moments of vulnerability. I also really love Stu Charno’s prankster Ted. He’s all kinds of fun playing some elaborate and inventive practical jokes on his friends. He keeps the tone light at times, and because of Charno’s charisma, he is instantly entertaining. He makes things lively and vibrant while never descending into bad one liners and wisecracks. He’s a very realistic friend that many people have who just likes to have a great time, and an even better night out on the town. However, this never betrays the overall tone of the movie, it merely enhances the versatile enjoyment of the picture. The chemistry of this cast is some of the franchise’s best, and even the supporting cast gets fine opportunities to add to the flavor of the picture.
Director Steve Miner gives this film some solid suspense and tension in every potential stalk-and-slash scene. From all accounts, he had heavy influence from Mario Bava with this film, and it really helped deliver a great first sequel. Miner knows how to handle his acting talents well and balance them out evenly to excellent effect. Everything is shot very well to enhance the slight unsettling vibe flowing through the film. The addition of the storm during the climax was an excellent touch. It just adds more to the atmosphere and intensity of the sequence, but it never dominates or disrupts what each individual scene is doing, tone wise.
The score by Manfredini is possibly a step up from the previous film. With a more evenly paced film, the music has more chances to slip in and out to create individual moments of horror than a chain of kills clumped together. Again, atmosphere and tone is set early on with the intelligent visual storytelling and underplayed music. The filmmakers let the score, subtle sound effects, and performances play up the unseen killer until he finally strikes, and creates a deeply disturbing moment that jumps straight into the opening credits. The film is able to continually create great sequences like this all the way through to the clever ending that throws in some nice psychological elements to Jason. It’s also smart that Ginny raises the idea of her deception earlier in the film so that the audience grasps onto what she’s doing as she’s doing it.
Warrington Gillette and his stunt double Steve Daskawisz do a very good job as Jason. He’s not the more refined or confident killer as we have come to know, but the physical acting is well done. The sack on the head look is very similar to the killer in the 1976 film The Town That Dreaded Sundown, which was based on true events. The hockey mask surely became a much better iconic image which forged his personality, but for this version of Jason, I think that one eye peaking out of the hood works very well.
Writing this review, I never realized just how good of a film this is beyond just being highly effective and enjoyable for me. There is no reason why this can’t be viewed among the best of its genre. It delivers everything a solid slasher film should as well as a lot of what good horror is meant to. While it doesn’t have the technical elegance or subtle brilliance of a Halloween, it has good atmosphere, tight suspense, intense scares, and entertaining characters who never devolve into moronic stereotypes. They might not all have great depth, but they are grounded in reality. Overall, this is a strong highlight of the series, and surely set the bar higher than the original Friday The 13th. Subsequent sequels would vary in quality to great degrees, some just as good, some not nearly, but not for the lack of having a solid reference for doing it right and well with Friday The 13th, Part 2.