First, one must note the incredible misstep by Paramount Studios, when they initially killed off Jason in Part IV the film received box office paydirt the fanbase was all in and the studio knew they needed another film so they tried to pull a fast one by attempting to make Tommy Jarvis a more centralized character and incorporate an imposter for Jason the bizarre jump. As we all know it failed, it was the equivalent of Halloween III [1983] that had no Michael Myers and the fans at the time didn’t like it either. Since that film has generated some interest but like with both movies their overall attention waned greatly. When it comes to reviewing a film such as this that has been done over 150 times by countless critics it is difficult to just do another review as one is merely retreading the same tired ground. Therefore, the only solution is to attack the problem from a different angle, by classic film analysis involving a collaboration of two authors Vix, who has not watched many slashers as erotic thrillers such as Basic Instinct [1992] are her forte and myself, a horror guru. Hence, she’s covering cinematography, setting and sound while I handle character analysis of similar traits, poor performances and pitiful handling of mental illness.
Since this film is part of massive franchise the course of action for me was to familiarize myself with these films’ stylization per Baron’s suggestion to watch Parts III and IV. While clearly this is not my cup of tea I do not back away from a challenge, therefore visual design lacks any serious engaging tactic for the viewer to enjoy and feels as if it is in a repeat stagnation through the movie. Absent early on in the movie are any creative angles, a bland framing emerges as a constant, unlike in Part III if I recall correctly actress Tracie Savage (The Crooked Man [2016]) in the shower the blocking is done effectively well to generate suspense as it references Alfred Hitchcock’s legendary shower with Janet Leigh with the left side as a void needing to be filled; however none of that truly exists thereby tosses away tension nor using it to create lasting atmosphere. Instead of reviewing the film I feel examining various scene flaws will more explicitly work better to note the problematic cinematography, although I imagine Baron will fairly place some of the blame on the plot holed film.
FRIDAY THE 13TH PART III
PSYCHO 1960
The opening dream sequence of Jason thrusting the machete into the stomachs of youthful gravediggers (Todd Bryant (The Puppet Masters [1994])) and (Curtis Conaway) the lack of blood is appalling and lackluster for the specific audience that this franchise caters to. Another horribly shot scene which involves the character Vic (Mark Venturini (The Return of the Living Dead [1985])) who is chopping wood, the suspense is squandered as we have a close-up of the axe acknowledging foreshadow of its impending usage. As soon as Joey (Dominick Brascia (Once Bitten [1985]) enters to frame from the right
Mark Venturini and Dominick Brascia
and Vic spurs rage the violence is a cut away shot with only blood soaking through a nice clean white sheet and paramedic Roy (Dick Wieand)) aghast by the sight.
Laundry Service Needed
I am pleased they showed a snippet of brutality, which is my selfish opinion, as I prefer tension to splatter the fan base like Baron rather have more violent impact. Strangely the scene has three random close-ups one with (Juliette Cummins), (Richard Young (Deadly Dreams [1988])) from in his office, and then the bizarre point of view shot from on top of the ambulance which Baron said looks like the opening of Police Squad television series (since I never saw it I like vouch that he knows of what speaks about). This leads to another mysterious angle when Roy steps into the frame and we are treated to a close-up of his presumably firm backside – but why will remain a mystery.
Ambulance in Friday the 13th V
Police Squad
Onward, to a better framed show in which Pete (Corey Parker (Scream for Help [1984])) has his throat suddenly slit, once more no blood spurting these transitions into a close-up of Tommy (John Shephard (Bless the Child [2000])) I must say he really displays a handsome lean upper body, finally some delicious eye candy for us ladies, instead of just the typical T&A of women. However, that manly enjoyment is short lived as Lana (Rebecca Wood) flashes her beautiful ta-ta’s in a lame mirror shot, just a cutesy one liner; there’s no razzle-dazzle except the hint of the type of sex act which is implied via her pearl necklace as it constant focus in her scenes. Finally, a bit of creativity pops up with misdirection and the customary sound cues from previous films which note doom and death is pending. Of course, more of an uninspired visual shot that diminishes viewer engagement with lackluster head and stomach trauma with an axe to both (Bob DeSimone) and (Rebecca Wood). The creativity surely shines through the innovative killing of Tina (Debi Sue Voorhees (Appointment with Fear [1985])) and Eddie (John Robert Dixon) that commits to showing the violence and the extreme savagery of the murders.
Once more another wasted surprise killing involving Junior (Ron Sloan (13 Fanboy [2021])) as the camera angel focuses on a tree which is well lit at night even though a single old motorcycle headlamp should limit scope of vision. I won’t even bother with how poorly the filmed decapitation is done, simply looks pitiful. The massacre at the primary residence of the halfway house is a series of jump cuts, poor lighting choices do not line correctly with the impending doom of characters. Such as Jeffrey (Jerry Pavlon) he’s in the hallway and doesn’t see Jason to his left the shadows do not cast a distorted silhouette; although soon enough the first giving an unintentional homage to Psycho [1960] regarding the raising of blade done to Milton Arbogast (Martin Balsam (The Sentinel [1977])). If the scene were blocked correctly, it could arise a better suspense than poor surprise, as everyone knew what was going to happen, completely telegraph.
Jason impression of Mrs. Bates
Psycho knife raised
In the final act, the longest chase scene the movie deploys the correct usage of lightning white contrast to exhibit the violence and trauma while the darkness is the internal chaos from the everyone left alive including the killer. The set design of the dense forest purely to evoke isolation is wasted as Pam (Melanie Kinnaman (I Spill Your Guts 2 [2020])) screams for Reggie (Shavar Ross) giving away her position to the viciousness of a homicidal maniac, which works against immersing the audience into the desperation of the situation.
When Tommy enters the barn for the confrontation with Jason, it all feels generic, unlike Part III’s barn which presented as a detail set decorator this is lacking the depth; addition, these two movies Part III and Part 5 contrast so differently on the barn usage one generates confident versus too much openness, . One last thing to mention as it often overlooks in films is the sound design to be most effective is to build suspense, especially in horror. However, the cues are overdone and ill-timed throughout the production, but it is during the barn scene that tempo is abruptly too loud and feels disjointed as if something was briefly trimmed or edited due to a censoring objection. Sound design strives to build suspense through ambient noises and sharp musical cues. Unfortunately, these cues often feel abrupt or poorly timed. For example, during the climax in the abandoned barn, the sudden loud noises.
Jason blocks the path of exit in Friday the 13th Part III
Poor Frame, Jason Looks so tiny in Griday the 13th Part 5
This concludes my review of the cinematography therefore onto the character analysis, along with the performance and eventually into the mental illness perspectives; found in Part II of this article by Baron Craze.
https://www.imdb.com/title/tt0089173/
IMDb Rating: 4.8/10
Vix’s Rating: 4.4/10