Class of Nuke ‘Em High (Blu-ray Edition)

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The unrated director’s cut of Troma’s cult classic is back on a Blu-ray disc loaded with bonus features.

Aahhh Troma movies! The Spirit of guerilla filmmaking lives on to this day with Troma Entertainment films (don’t believe me, go watch POULTRYGEIST: NIGHT OF THE CHICKEN DEAD). Troma, and its co-founder Lloyd Kaufman, provide the last bastion of independent, fun, over-the-top, gory genre flicks. Troma has given us such classics as THE TOXIC AVENGER, TERROR FIRMA, TROMEO AND JULIET, and TROMA’S WAR; produced such cringe-inducing flicks as MOTHER’S DAY and IGOR AND THE LUNATICS; and distributed such groaners as SURF NAZIES MUST DIE and KILLER CONDOM. Troma Entertainment movies, especially those written and directed by Lloyd Kaufman, are not for everyone. If you hate toilet humor, excessive gore, lesbians, crazy plot lines, borderline acting, and general gonzo craziness, then you will definitely want to stay away from Troma films. But if you enjoy such delicacies – well come on in, have a seat, and let’s talk.

Ok, enough of that. If you’re reading this, then you probably already love Troma Films and Uncle Lloyd. Let’s get to the reason you’re reading this posting: The new Blu-ray Edition of Class of Nuke ‘Em High (1986), released on June 1, 2010. Right off the bat, I’ll tell you that you’re not getting a different version from the “Unrated Director’s Cut” that was released on DVD back in December 1997. Both versions have an 85-minute running time, so the only difference is upgrade in video quality that this new Blu-ray release allows. (Oh, and the Blu-ray has no region coding, so you can enjoy the disc worldwide!)

I have a special place in my heart for Class of Nuke ‘Em High. The was the first Troma flick I ever saw. I rented it back in the days (before Blockbuster Video cornered the market on movie rentals) when all the Ma and Pa corner video stores were competing with each other. The successful places had the goriest movies, and that’s the kinda place I found this gem. I rented it based solely on the video cover art, which showed a half-naked chick in leather being hugged by some mutant-goon with a picture of a monster in the background. I love it (and they kept the same cover art for the Blu-ray edition)!! And unlike most other video cover art, this one had all these elements in the movie – and more! What more could a 16 year old boy ask for??

The story  begins in Tromaville. Tromaville, NJ is for Kaufman what Castle Rock, ME is for Stephen King. It seems the local nuclear power plant has sprung a leak, and toxic waste is absorbed into the ground, finding its way to the (very) nearby high school. The water is contaminated, and we see students drinking the thick, green jello-like polluted gunk out of the fountain. The effects of are pretty mild and barely noticeable (yeah, right!!). The honor society, once the preppies of the school, are now a vicious and violent gang of mutants who make everyone’s lives at school miserable. And don’t even ask about the AV Club!! Even some teachers become seduced to the mutant side, which leads them to dress and act slutty (all for our entertainment, of course).

Amidst all these bizarre characters are Chrissy and Warren, white-bread high school sweethearts a little on the “goody-goody” side. They’ve been dating for a while, and when their friends realize they haven’t banged each other yet, they step in to help the two lovers out. Warren’s buddy buys some weed that was grown at the contaminated power plant and gives it to the cute couple to help “grease the gears.” The weed works all too well and gives them an “Atomic High” that turns Warren’s load into “super sperm.” Within days Chrissy gestates a little mutant baby that she vomits into the toilets at school and which gets flushed. Oh yes folks -we’re into some truly bizarre territory here. As weird as it sounds, the fast paced-direction, the collection of odd-ball characters, and the actors involved make this really fun.

We even get a brief homage to Kaufman’s Toxic Avenger (1985), when we see one of the side effects of the Atomic High turning Warren into a mutated vigilante. He confronts a few of the honor society mutants in an alley and pretty much turns them into goo. Just wait to see the effects of Warren punching one of them: Gives new meaning to the term “fisting”!

Say what you will about Troma and Uncle Lloyd, but that man knows how to find and cast young, cute, and very innocent looking girls in the lead roles. Don’t believe me? Check out actress Kate Graham (the lead in Poultrygeist) and Jane Jensen (the lead in Tromeo and Juliet). And here Janelle Brady, who plays Chrissy, is a true 1980s babe. She’s cute and a bit of a bimbo, but underneath the surface there is a bad girl bubbling to get out.

The story takes a lot of truly bizarre twists and turns. The mutant ex-honor students get expelled from school and decide to come back, heavily armed of course. They blame Warren for their expulsion, so they kidnap Chrissy to lure him into the evacuated school. Oh, but wait: remember that little mutant tadpole Chrissy puked up? Well it’s all grown up now. This has an ending that must be seen to be believed!!

Like all Troma releases, this movie never for one second takes itself seriously. It’s full of toilet humor, bodily fluids, and tons of gratuitous gore. Good family fun if ya ask me. If you haven’t seen this one in a while (or even worse, haven’t seen it at all), then this is the prefect time to upgrade to the Blu-ray Edition. Call some buddies over, make some green jello shots, grab your favorite bong, and have a blast! Don’t miss this one.


After you’re threw with the movie, if you haven’t knocked back so many beers you’re unconscious, you can check out these bonus features:

  • Nuke ’Em High School Sweethearts: New interview with Robert and Jennifer Prichard, stars of Class of Nuke ’Em High
  • Audio commentary by Troma president and former Nuclear Power Commissioner Lloyd Kaufman
  • Audio commentary by Class of Nuke ’Em High special effects and miniatures creator Theo Pingarelli
  • Deleted Scenes originally thought lost during the Chernobyl disaster
  • The original theatrical trailer for Class of Nuke ’Em High and other Tromatic classics
  • Includes the hilarious episode from the Tromaville cafe

CLASS OF NUKE ‘EM HIGH (a.k.a. ATOMIC HIGH SCHOOL, 1986). Directors: Richard Haines, Michael Herz, & Lloyd Kaufman (as Samuel Weil). Writers: Lloyd Kaufman, Richard W. Haines, Mark Rudnitsky, Stuart Strutin. Cast: Janelle Brady Gil Brenton, Robert Prichard, Pat Ryan.

Big Trouble in Little China – Blu-ray Review

1986 saw director John Carpenter at the height of his career; a string of staggering successes charting back to HALLOWEEN and including THE FOG, ESCAPE FROM NEW YORK, THE THING and CHRISTINE represent a creative peak that any director would be jealous of. 1984’s STARMAN not only buoyed the streak; it gave Carpenter the critical raves that often eluded genre directors. Taken in hindsight, there isn’t another filmmaker that we can think of – regardless of genre – who has been able to produce six legitimate classics in as many years. Major studios were eager to work with Carpenter, and there was even a flirtation with the Salkind’s ticking time bomb, SANTA CLAUS: THE MOVIE before demands for creative control lost him the job – he should have just phoned Richard Donner and saved time. Instead, Carpenter’s next project would be an oddball genre gumbo: an action film taking place almost entirely beneath San Francisco’s Chinatown and emphasizing Chinese mysticism and martial arts long before Hollywood began importing Hong Kong talent to choreograph THE MATRIX, CHARLIE’S ANGELS, et al. BIG TROUBLE IN LITTLE CHINA’s $25 million budget was by far the largest Carpenter had yet worked with, and not even adjusting that figure for inflation gives a proper indication of how big a price tag that was for an action-fantasy-comedy in 1986.
We must have thought that the film’s trailer was pretty good at 16, because we arrived dutifully early on that Independence Day weekend when the film opened, even though it turned out that we could have sat anywhere we wanted to in the nearly empty theater. Big Trouble in Little China recouped less than half its budget, sending Carpenter running back in the world of independent cinema, only to return twice – in 1992 to ruin H F Saint’s beautiful novel Memoirs of an Invisible Man with a sadly risible film version starring Chevy Chase, and again in 1996 in an attempt to ruin his own legacy with Escape From L.A. But we weren’t thinking, while sitting in that near-empty theater on the 4th of July all those years ago, that the film about to unspool would represent Carpenter’s last great creative leap forward – an orgasmic discharge that mixed ’30s screwball slapstick with ’70s Shaw Bros Kung-Fu, and wrapped in director of photography Dean Cundey’s trademarked Panavision flair. Carpenter would never get the keys to the candy store on this scale again.
If you’re reading this, then the chances are that you’re already familiar with the tale of Jack Burton and the Pork Chop Express (that would, of course, be his truck.) After dropping off his freight in San Francisco, Jack meets up with old friend Wang (the criminally underused Dennis Dun, who bookended Big Trouble in Little China with superior turns in Year of the Dragon and The Last Emperor) and drives him to the airport to pick up his fiancée from China. Also awaiting the plane are henchmen of the Wing Kong, a street gang working for David Lo Pan (the great James Hong, now 80 and still going strong), the leader of Chinese underworld in San Francisco who also happens to be a 200 year old wizard, cursed to walk the Earth until he marries and then sacrifices a girl with green eyes.
On their way to Lo Pan’s HQ to retrieve Wang’s bride-to-be, Jack and Wang wind up in the middle of a full-scale kung-fu showdown between the Wing Kong and the Chang Sing; but just as the Sing appear to gain the upper hand, 3 supernatural furies arrive – with powers representing lightning, thunder, and rain – and decimate the Chang Sing. Jack and Wang make an understandable dash for safety, but return to find Jack’s beloved truck gone. While regrouping at the home of tour bus driver and benevolent sorcerer Egg Shen (more memorable character work from the late Victor Wong, who’s death on 9/12/01 went sadly, but understandably, unreported), Jack and Wang pick up help from investigative reporter Gracie Law (Kim Cattrall, showing great chemistry with Russell that should have been capitalized on in other films). Soon this motley crew is off to Lo Pan’s mystical underground lair to retrieve Jack’s truck, Wang’s bride, and stop an ancient evil from spreading across the globe.
Now, if that brief synopsis makes sense to you – seek help, fast. The plot of Big Trouble in Little China reads like an opium hallucination and must have had executives at Fox more than a little anxious. While the Asian actors are uniformly great (particularly Victor Wong and James Hong who look like they’re having a blast), playing their roles with a wink, the success of the film rests squarely on the shoulders of star Russell. At the outset, Jack Burton appears to be a typical square-jawed hero in the Carpenter mode – a sarcastic Snake Plissken. But as the film progresses, we notice that Burton, who walks into every scene wearing a cocky half-sneer and spouting one eminently quotable line after another (usually mentioning himself in the 3rd person), is being used almost entirely for comic effect. Outrageous action happens around Burton, who never seems to get a handle on the mystical donnybrook that swirls around him.
Big Trouble in Little China gets endless mileage out of Russell’s pitch-perfect comic delivery: from his “Where’d you get that?” reaction when an opponent whips out a kung-fu weapon at the airport, to the frustrated shooting of a grotesque floating head during the climax (“Hey, you never know ‘till you try”), Russell earns buckets of laughs almost effortlessly. This is likely the prime reason the film failed to click with mass audiences; Fox pushed Carpenter’s tongue-in-cheek adventure as a straight(ish) action piece, leaving lots of head scratching when the hero fires off a celebratory round of gunfire moments before the final action confrontation, only to be hit in the head by a chunk of ceiling and get knocked out cold for much of the fight. At the time, we thought that was the funniest thing we had ever laid eyes on, and little has happened since to amend that statement.
But for those who knew what the ride would be like when they bought the ticket, Big Trouble in Little China played like a dream come true. Younger folk who weren’t part of the movie-going public in 1986 probably can’t appreciate just how huge it was to have a large-scale Hollywood film embrace the Hong Kong martial arts shooting style on this scale. This was years before Jackie Chan, John Woo and Chow Yun-Fat broke down the walls of acceptance for HK cinema’s distinct style, and for those that were amenable to it, it was like having someone clean a filthy windshield and finally being able to see the world as it was meant to be seen. If this all sounds a bit too much, take a look at what was passing for action films in the earlier part of the decade, replete with listless warehouse shootouts and endless, stultifying shots of stuntmen flying off of trampolines. Somehow, Carpenter found a way to successfully fold these elements into the comic framework of Russell’s Jack Burton, creating this odd-duck masterpiece. We revisit this show just about annually to marvel at his weaving together of such desperate elements and lament the creative spiral that began for the director not long after this film’s release.


Fox’s eagerly awaited Blu-Ray of Big Trouble in Little China adds a DTS isolated score track, but otherwise appears to be a reissue of their 2-disc DVD set of several years back. We’re very pleased to report that the Blu-Ray looks fabulous, offering a giant leap in terms of color and detail over the previous 2-disc edition. We can only hope that every vintage film gets this sort of treatment.
A selection of deleted scenes and an extended ending (many of which are from a workprint) are on-hand, in addition to a featurette from 1986. A BTS stills gallery is included, along with the original theatrical trailer, to give an indication of what Fox thought the best marketing route would be. (There’s no question that the film was a tough sell; who is this Jack Burton guy anyway? Is he a joke? Why does he spend half of the film’s final fight scene unconscious? ) We’re sure that Ms. Cattrall’s agent enjoyed seeing her prominent billing on the disc artwork (is Fox shooting for Sex and the City fans?) though Mr. Russell’s might feel differently.
The most important extra, however, is the commentary track featuring Carpenter and Russell. They’ve previously recorded chats for Escape from New York and The Thing (though all three are several years old by now), and their tracks together have long been considered the high watermark of the art form; it may sound trite, but it truly is like sitting with two friends reminiscing over dinner. On the Big Trouble in Little China commentary track, Carpenter and Russell lay into the Fox marketing dept hard, placing a lot of the blame for the film’s dismal box office performance at their feet. Carpenter is wildly unpredictable on his own, but like their film collaborations, being in each other’s company seems to bring out the best in each other.
May the wings of liberty never lose a feather.

Friday the 13th Part VI: Jason Lives – Deluxe Edition DVD Review

Smarting by the anemic box office and angrily negative fan reaction to FRIDAY THE 13TH PART V: A NEW BEGINNING, Paramount brought in writer-director Tom McLoughlin (whose only previous directorial experience was the well regarded ONE DARK NIGHT back in 1983) to revive the franchise. McLoughlin – under studio directive to bring Jason back to life – decided to use humor to smooth over the more ludicrous plot machinations, and his comic sensibilities were thankfully more graceful than his predecessor’s had been. As with previous entries, production began almost before the previous film had exited theaters, and FRIDAY THE 13TH, PART VI: JASON LIVES! was released in August of 1986. The sequel picks up with teenage Tommy Jarvis (Thom Mathews, so memorable alongside James Karen in the previous year’s RETURN OF THE LIVING DEAD) and fellow asylum inmate Allen (Ron Palillo, TV’s Horshack, in what would sadly be his highest profile role post-KOTTER) on a breakneck graveyard run to once and for all purge Jason from his dreams. This plays out almost identically to the opening of the previous FRIDAY THE 13TH – though instead of ghoulish pranks, Tommy and Allen set out to burn Jason’s corpse to cinders. What follows gives a fair indication of the type of humor that McLoughlin offers, as the attempt to put Jason down for good has the exact opposite effect: a steel pole gets lodged in the torso of the lifeless, desiccated body – which is brought back to life Frankenstein-style by a bolt of lightning. After Allen gets a hole punched through his chest by the newly animated killer, Tommy flees, his unfinished task a heroically epic fail. The prologue finishes up with an optical shot through the eye of the hockey mask, with Jason stalking across the frame, then stopping to throw a machete at the camera in a takeoff of the James Bond opening that elicited wild applause from the audience with whom we saw the film.
Tommy makes a fruitless attempt to warn the local authorities in the form of Sheriff Garris (an appropriately gruff David Kagen), who winds up throwing Tommy in jail after he makes a grab for a shotgun. Having renamed itself Forest Green in an effort to distance itself from its most infamous son, Crystal Lake – understandably – doesn’t lay out the welcome mat for Tommy; he does, however, find a believer in the Sheriff’s daughter, Megan (Jennifer Cooke), who just happens to be one of the counselors at yet another summer camp operating off the lake (how do they get insurance?)
Director McLoughlin showcases a few humorous moments of the all-too-rare “laughing with” variety, as Jason goes after a pre-Ghost Tony Goldwin and the director’s wife, Nancy. Jason blocks the path of their rather unintimidating Volkswagen, and after Tony’s unsuccessful attempt to threaten him with a fist-sized handgun, Nancy tries offering him her wallet – cut to final shot of an Amex card floating in a blood-soaked puddle.
McLoughlin is careful never to let the humor drift off into outright satire – probably harder than it sounds when you’re talking about a Part VI of anything – but he’s also aware that given the triteness of the setup it’s probably the only way to squeeze out a halfway entertaining movie. Even if the sequence wherein Jason kills a bunch of corporate executives on a survivalist weekend plays too broadly for comfort, McLoughlin’s heart is in the right place.
With the help from Megan, Tommy escapes from the jail and heads to the place he know Jason can’t resist – a summer camp. McLoughlin does take a risk here; previous films in the series have only shown camps getting ready to open, but here we see Jason actually menacing a little girl in her bunk, and the series dips its toe into palpably uncomfortable waters for several moments (though some of that tension is relieved by a snoozing camper with a copy of “No Exit” open on their chest.)
Being a Paramount film, nothing too horrible happens (though at the risk of a spoiler, let’s say that one character bends over backwards in a more than figurative sense.) However, the MPAA once again had at the film, dulling the impact of nearly every kill. Being the final film in the unofficial Tommy Jarvis trilogy of IV, V, and VI, the showdown leaves Final Girl Megan without much to do, as Tommy lures Jason back to the very lake where he drowned as a boy, leading to a fiery – if not quite final – confrontation.
Far superior to its dreadful predecessor, Friday the 13th, Part VI: Jason Lives is the last decent film in the series made at Paramount. The ill-conceived A New Blood introduced a Final Girl with telekinetic abilities, thus ripping off two movies instead of just one, and the aberration that was Jason Takes Manhattan featured a High School graduation party on a cruise to NYC that doesn’t reach the titular city until the conclusion for some hastily filmed Times Square shots (the Pilgrims got to Manhattan quicker.)
While not all the humor in Jason Lives works, at least the failed bits don’t up-end the whole show. The only major complaint is the shift in location shooting to Georgia; while the California locations of III, IV, and V stood out like a bloody machete from the effective Northeast setting of the first two films, Georgia always looks like Georgia.
Paramount has understandably decided to make this film the last of the series to get special edition treatment, possibly because they have run out of installments of Lost Tales of Camp Blood, the 6th (and we hope, final) of which is included here. The film has also been cleaned up a bit since its last release, with a much better looking image than the copy found on the box set.
The best extra is the commentary with Tommy McLoughlin, editor Bruce Green, and writer Vinnie Guastaferro. McLoughlin is a horror enthusiast (who directed several episodes of the Friday the 13th syndicated series); he still relishes his shot at making a Friday the 13th film (he still has Jason’s gravestone in his yard) and he leads an informative and fun chat that makes it hard to switch hack over to the film soundtrack. (We actually had the opportunity to meet McLoughlin shortly after this film, while he was shooting Date with an Angel at the de Laurentiis studios in North Carolina and can confirm that he really is that nice.)
As for the remaining bonus features:

  • The making-of piece, Jason Lives: The Making of Friday the 13th Part VI is interesting, but features a lot of overlap with the commentary.
  • Slashed Scenes is another tribute to the MPAA, featuring complete versions of the edited kills, though the workprint quality is wobbly.
  • Meeting Mr. Voorhees describes McLoughlin’s unfilmed ending that would have shown Jason’s never-discussed father visiting his grave.
  • The mocumentary The Crystal Lake Massacres Revisited Part III doesn’t offend; neither is it worth much of your time (particularly for the third time.)
  • The nearly apologetic theatrical trailer is also included.


Friday the 13th Part 6: Jason Lives (1986) – Film Review

friday_the_thirteenth_part_viThis sixth installment in the all but interminable FRIDAY THE 13TH series seems deliberately designed to be the first one to make classic horror movie fans sit up and take notice. If you prefer the living dead to masked slashers, if you taste runs toward Dracula, Frankenstein, and the Wolf Man rather than Michael Myers, Leatherface, and the old Jason Voorhees, this film is for you. No longer a mere maniac in a hockey mask, Jason is reinvented as a walking corpse, and writer-director Tom McLoughlin strives to bend the familiar FRIDAY formula into a throwback to an earlier era of horror monsters. The results are mixed – neither fish nor fowl (or, rather, neither bat nor snake) – but you have to give McLoughlin credit for trying.
Most of the previous FRIDAY films had played the lazy slasher trick of killing off the killer and reviving him without explanation, fudging the details with dream sequences that obscured exactly what had happened. Some fans even speculated that Jason had been a zombie all along, having drowned (as Mrs. Voorhees relates in FRIDAY THE 13TH) and then come back from the grave in PART 2 to avenge his mother’s death. That interpretation pretty much bit the dust when the character of Tommy Jarvis performed a little unauthorized cranial surgery on Jason in FRIDAY THE 13TH: THE FINAL CHAPTER. The “Final” in the title lured customers eager to see Jason’s demise; predictably, the box office success led to FRIDAY THE 13TH: A NEW BEGINNING. That film’s attempt to jump-start the series by having someone else don Jason’s hockey mask showed a steep decline in ticket sales; ergo, Paramount decided to bring Jason back from the dead.
Ignoring the events of A NEW BEGINNING,* JASON LIVES begins with Tommy Jarvis (now played by Thom Matthews of RETURN OF THE LIVING DEAD) heading out to a cemetery, along with his friend Allen (Ron Palillo,  in order to make sure that Jason remains in his grave. Needless to say, this ill considered operation has exactly the opposite effect: a metal spike that Tommy jabs into Jason’s chest acts as a lighting rod, and faster than you can say “Frankenstein” (or “Godzilla vs the Sea Monster,” come to think of it), the old serial killer is back in action.
As disastrous as Tommy’s attempt to seal Jason in his grave turns out to be, at least it does something that few FRIDAY films do: it sets up an actual plot. Instead of gathering together a bunch of ignorant boobs who get killed off one by one until the Final Girl faces off with Jason, JASON LIVES focuses on Tommy’s attempts to warn the police and put an end to the reborn killer. You know, it’s almost like a real movie, with a protagonist pursuing a clearly defined goal!
This is both good news and bad news. McLoughlin can go only so far in overturning the cliches. This remains a FRIDAY THE 13TH movie striving to be something different but only partially succeeding. The gore is toned way down; the nudity is non-existant, and the only sex scene is so tame it feels like its inclusion was the result of a contractual obligation. In place of the grim and gritty exploitation of the earlier films, McLoughlin offers mild scares that undercut the series’ main strength. Some of them are amusing (with a single swing of a machete, Jason takes out a trio of victims standing side by side; he also takes out one foolish weekend warrior who shoots him with a paintball), but they lack the shock value of the graphic deaths in earlier films.
The problem is that, without the threat of horrendous carnage at every opporutinty, there is only so much you can do to make Jason scary; he’s just not a particularly spooky character whose mere presence can make your skin crawl. McLouglin tries to compensate with tongue-in-cheek humor and an old-fashioned monster movie approach to the material (two elements that combine in “Karloff’s General Store” – a reference to the actor who starred as the monster in the 1931 FRANKENSTEIN). Some of the sight gags and one-liners are amusing: when one pretty female victim is yanked right out of her cute little bunny slippers, the incongruous juxtaposition of her footwear and her horrible death is worth a chuckle; when two young kids are hiding in the dark from Jason, their future survival by no means certain, one asks the other, “So, what were you planning to be when you grew up?”
Jokes like these, along with the fact that many of the potential victims are not sexually active teens but prepubescent children (who we know will never be in any real jeopardy, let alone killed), lowers the horror level way down into the tolerable level instead of pushing the envelope. Consequently, if you never much liked the FRIDAY movies, you can comfortably sit back enjoy this one as a sort of self-spoof, but if you’re a hardcore fan, you’re likely to be just pissed off and disappointed.
Or put another way, this is the FRIDAY THE 13TH film for viewers who do not like FRIDAY THE 13TH films. But even if you’re a fan who finds the film disappointing, you have to give it credit for putting Jason back behind the mask and setting up the series for future sequels. The legacy of JASON LIVES for the rest of the franchise was that it let the filmmakers off the hook from having to end each new film on an ambiguous note regarding Jason’s survival. From this point on, Jason could be satisfactorily killed off at the conclusion because, being dead, he could easily be revived for the next sequel.

He's back - the Man Behind the Mask
He's back - the Man Behind the Mask

The previous FRIDAY films were one-note affairs; this time out, a slightly new tune is being played (this is literally the case: composer Henry Manfredini’s familiar theme music is augmented with a couple songs performed by Alice Cooper (including “He’s Back: The Man Behind the Mask”). Whatever its weaknesses, JASON LIVES is a reasonably fun attempt at remaking the franchise into an old-fashioned monster movie, and fans of Frankenstein, the Mummy, and other creatures of the walking dead may find it appealing.
FRIDAY THE 13TH PART 6: JASON LIVES(1986). Written and directed by Tom McLoughlin. Cast: Thom Mathews, Jennifer Cooke, David Kagen, Kerry Noonan, Renee Jones, Tom Fridley, C. J. Graham, Darcy DeMoss, Vincent Guastaferro, Tony Goldwyn.

  • It is just barely possible to rationalize a continuity between the fifth and sixth FRIDAY THE 13TH movies. JASON LIVES tells us that Tommy has been in therapy since offing Jason back in Part 4, and the motivation for his trip to Jason’s grave is to put an end to the hallucinations and nightmares that have plagued him during the intervening years. One could charitably assume that the events of A NEW BEGINNING were part of one long nightmare in Tommy’s mind.