Saucy Cinema- Freddy vs. Jason

Hey everyone! It’s been a challenging few months. COVID-19 hit my house like a ton of bricks, hospitalizing my wife and putting me on the shelf. We are fortunate though, because we are both recovering and are pretty healthy at the moment. During this hiatus from the blog, I fell back in love with slasher flicks (don’t worry, I promise my Ultraman article and future BBQ articles will be hitting the blog soon). Growing up, Nightmare on Elm Street was my favorite of the “Big Three” horror franchises including Halloween and Friday the 13^th. Yet, ranking the Nightmare films doesn’t quite seem fair, as one key entry, Freddy vs. Jason, pits our killer (Freddy Krueger) against Friday the 13^th’s Jason Vorhees. This fact has led me to the conclusion that a proper ranking would do the same, so this list is IT- A ranking of the Nightmare on Elm Street and Friday the 13^th films in one list. Let’s see who wins!

20. A Nightmare on Elm Street (2010)

Part of the remake craze of the 2000s which saw Halloween, The Hills Have Eyes, The Texas Chainsaw Massacre, and Friday the 13^thremade to varying levels of success, 2010’s version of A Nightmare on Elm Street is the worst thing a movie can be in some ways- utterly forgettable. The film floats a few interesting ideas- like the idea that Freddy might have been innocent before the parents of Springwood killed him- but they never are fully realized or capitalized upon, often just retreating back to the familiar (Freddy is of course revealed to be indeed guilty). The film does lean into Freddy’s pedophilia in an attempt to make him frightening again. While Freddy refrains from being funny in this film, his new “more realistic burn” design is often let down by the shoddy CGI touchups. Indeed, the digital effects often bring the scares down, including a horrible looking version of Freddy peering at Nancy through the wall, a classic scene from the first film. The micronaps are also a nice touch, with the concept of dreaming while you are a wake a fun and potentially frightening addition to the mythos. Again though, this concept isn’t utilized to its potential. Jackie Earle Haley certainly gives it his all in the role of Freddy Krueger, but his voice just often sounds like his more popular turn as Rorschach from Watchmen. Despite this quibble, his Freddy mostly works, and certainly is one of the film’s strongest points, at least in characterization. In the end, the story is just too familiar, the effects aren’t imaginative, and the scares are not there, a death nail trifecta for any film. That said, there are atmospheric moments, one or two good characters, and a few solid sadistic Freddy scenes. There is also something to be said for trying to work in real world trauma as a sort catalyst for killer dreams. This is not a good film, but it might not be quite as bad as some may claim. You may just forget about as soon as it is done though. SCORE- 5.4/10

19. Friday the 13th Part VIII: Jason Takes Manhattan

Freddy may have bottomed the list but make no mistake- this Jason Vorhees entry isn’t much better. Billed as Jason’s rampage through New York City and pitched with imaginative scenes like Jason boxing in Madison Square Garden, the budget called for a much more restrained picture. So the majority of the film takes place on a boat (somehow going from a lake in New Jersey to the Statue of Liberty) with our usual set of teen characters. If this were the point of the film, it actually might have been a bit better, as the claustrophobia can really work at times, capitalizing on another terrific performance by Kane Hodder as Jason. But no, the film is spinning its wheels before it gets to New York, or more often, parts of Vancouver. The urban scenes add little to the movie simply goosing up the body count in dark alleys and vague rooftops. We do finally get Jason in Time’s Square, and the moment where he scares the kids by taking off his mask is fun. Kane Hodder finds himself playing a memorable Jason in an otherwise unmemorable film, an unfortunate pattern of his 4-film stint. Sadly, our cast of characters really show how the series has run out of steam. We get another female lead with a back story connecting to Jason, as her uncle through her Crystal Lake to teach her how to swim and she made contact with an adolescent Jason (somehow). The scenes with this child Jason are almost nonsensical, and the ending involving toxic sludge reverting Jason into a child still doesn’t make any sense. Nonetheless, there a few great kills here, with Jason straight up punching a teenage boxer’s head off probably being the best one. It’s no wonder the follow up the eighth installment attempted such a dramatic departure, as the formula was well beyond stale here. SCORE- 5.5/10

18. Jason X

If the concept of Carrie vs. Jason from Part VII seems out there, then sending Jason to space might seem (ahem) FAR OUT. Yet that is what Jason X does. Let’s be clear- this isn’t a good film. It’s probably much worse than I give it credit for, but I cannot help but admire the film for knowing exactly what it is- a dumb sequel in a franchise so out of ideas they literally sent their character to outer space. We get a fantastic death by cryogenic fluid/face smash, a David Cronenberg cameo, and a robot lady beating the hell out of Jason. We see Jason get an upgrade into Uber Jason (looking like a Power Rangers villain) and Kane Hodder’s last performance as Jason. Sadly, all the good stuff is let down by stock characters and some horrendous CGI here and there. Plus there is a ceiling for cheap sci-fi/slasher mashups that no film could likely break through, let alone one as flawed as Jason X. Still, the virtual reality hologram room let Jason recreate, in stunning fashion, a new version of the sleeping bag kill from Part VII, and there a few legitimately funny moments in the movie, but sadly not as many as there likely should be with a concept this outlandish. This is a movie that feels like two different routes are needed to make it a much better film. If the creators wanted something so out-of-the-box, they should have leaned more heavily into crazier, sci-fi elements with better production values. On the other hand, if they wanted to make a more engaging film, perhaps the creative team should have placed more care in establishing more interesting or likeable characters and at least trying to add some horror into the film. In short, if Jason X were either a better film or at least more fun, this movie would be looked upon more fondly today. SCORE- 5.6/10

17. Freddy’s Dead: The Final Nightmare

Just like Jason, the Freddy’s franchise had also run out of steam, necessitating a sharp departure from formula soon after. Freddy’s Dead is the low point in the original Nightmare series of films, featuring Freddy at his most Loony Tune-esque depiction. Deaths include Freddy sucking a stoner into a video game and beating him with a power glove. The decision to give Freddy a daughter was predictable, as Halloween’s sequels had focused so much on family that it began to affect the other franchises. Despite these lower points, the film has a manic, cartoonish energy that some may find charming, and the conceptualization of Springwood as a place where the parents have gone insane because all of the children have died is quite unnerving. There are a few interesting characters like Carlos and Tracy who have experienced trauma in their past making them sympathetic. This is in keeping with the franchise’s penchant for giving us characters we DON’T want to see die, despite how elaborate the nightmare sequences are. The film’s narrative lets down its characters as it focuses too much on Freddy’s origin, involving Dream Demons (introduced primarily to sell the 3D finale) and his family. The more serious undertones of trauma and the post-apocalyptic vision of Springwood clash with the movie’s comedic tone in a way that is truly jarring. Still, you won’t forget this one, and the first hour certainly will hold your attention, even if what is presented is always what you want from a Freddy Krueger film. Perhaps its biggest disservice is to the franchise at that point, which had built a consistent and engaging story over the course of five films, only to end with a wet thud instead of a bang. SCORE 5.7/10

16. Friday the 13th Part V: A New Beginning

Now we are out of the “terrible to kind of bad films” and have entered Mediocreville. A New Beginning is infamous in the Friday franchise for tricking its audiences into thinking Jason was back to killing teens. Instead, the culprit is revealed to be a paramedic driven mad after seeing the body of his secret son chopped to pieces by troubled youth living at a youth facility. Like the previous entry on this list, Part V exhibits a manic energy, with wild and cartoonish characters, this time so obnoxious you can’t wait to see them killed. And killed they are, albeit often with quick cutaways likely to appease a zealous MPAA and keep the killer a secret. After 4 solid installments, the Friday franchise hits their first rut with it fifth outing, helmed by a director experienced in making pornography. And this experience shines though, giving the film a sleazy sensibility unlike anything in either franchise. Perhaps the biggest failing though, is the handling of Tommy Jarvis from Part IV. Set up to be perhaps the next Jason at end of that film, Tommy spends most of his time being quite with short outbursts of rage, essentially acting as the film’s red herring suspect before the ending suggests that Tommy is finally ready to take on the mantle of killer. Why isn’t it ranked lower? For one, it’s quite memorable, and a few deaths and characters stand out, including an impromptu song in an outhouse, a brutal hedge clipper kill, and the shocking axing of the first victim, Joey, which sets the whole film in motion. We have our second solid child protagonist of the series in Reggie, and Corey Feldman even shows up in the opening to pass the torch to the next actor playing Tommy, now an older teen (or maybe adult). This one isn’t for everyone, but it knows what it wants to be, and succeeds in being sleazy schlock. SCORE- 6/10

15. Friday the 13th Part VII: The New Blood

As hinted at earlier, this movie is essentially Carrie vs. Jason, and the execution of that particular concept actually works better than many may give it credit for. New Blood sees the debut of Kane Hodder as Jason, and the design of the zombified Jason with all of his decomposition and battle damage really give us a memorable version of the killer. However, there are two major things weighing this one down like an anchor. The first is the cutting of the wonderful special effects for the majority of the deaths, as the MPAA’s reign of terror continued to impact the franchise. In fact, this movie may be the installment hurt worse by these cuts, although in the case of the beloved sleeping bag kill, perhaps the cut versions can yield positive results. The second is the cast of characters. While the fifth film gave us truly unlikable characters for the killer to maim in creative ways, the seventh installment sees teens which are worse- dull. Before we can get to our main event showdown between the telekinetic (and prophetic visioner) Tina and Jason, the film decides to give us the standard Friday formula without the care put into setting up these characters to die. The film’s true villain, Tina’s manipulative therapist, get his, but again the death is so edited down that the build up simply isn’t worth it. The fight between Tina and Jason gets very imaginative, however, and here the effects shine. Jason truly meets his match in this one, and the ensuing battle is engaging right up until the very end when, for some reason, Tina is able to resurrect her father (whom she killed as a child not fully in control of her powers) who drags Jason back down to the depths. That ending plus the slog of a set up make The New Blood a frustratingly uneven film to watch, although kudos should be given for trying to think outside the box. SCORE- 6.5/10

14. Jason Goes to Hell: The Final Friday

The final appearance for Kane Hodder on THIS list (and in three different roles no less in this movie) Jason Goes to Hell is perhaps a bit unfairly maligned for the simple reason that Jason isn’t in it very much. Instead, a coroner uh… eats Jason’s heart and throws up a worm thing to pass the spirit of Jason along from one body to the next, trying to possess the last of his bloodline (told ya family connections affect every slasher franchise) so he can return in his favorite form. So yeah it’s weird. This was actually the first film I watched in the series, and the one I watched most as a kid, so I have some nostalgia for it. But I love the main character, Stephen, who tries throughout the film to protect his ex and baby from monster everyone believes is dead, which sets it apart from the other lower entries on the list. Creighton Duke, serial killer bounty hunter, is also a super fun addition to the mythos. But honestly this film hooks me pretty good from its opening, as we see a woman shower in a cabin by Crystal Lake, giving the audience the seemingly required nudity for every Friday film. Jason chases the woman out of the cabin and straight into AN FBI AMBUSH WHERE HE IS BLOWN TO PIECES! It’s a fun subversion of the formula and sets the tone for a film that doesn’t want you to take it too seriously while still respecting the tropes. Be sure to watch the Director’s Cut to see the tent death in its entirety. There are numerous references to other franchises like Halloween, Creepshow, and The Evil Dead with the freaking Necronomicon showing up! Jason might not be on screen much, but this might be my favorite design, with this trademark hockey mask being almost absorbed to his face due his deformed head seemingly growing around the mask. Plus, you get to see Hodder play an agent who taunts Jason, only to (of course) meet an untimely end. And finally you get to get to see Freddy Krueger’s arm (played again by Hodder) shoot up out of the ground to drag Jason’s mask to hell setting up their fight more than a decade later. It’s bizarre, and the story doesn’t make a lick of sense. This also the second film in the franchise with the word “final” in the title, and it’s once again lying to you. A bit more attention to flesh out the mechanics of the possession and continuity and this would have been an all timer, particularly the Director’s Cut. As is, the standard cut is far more tame, and thus a bit duller in between the silliness. SCORE- 6.7/10

13. A Nightmare on Elm Street Part 2: Freddy’s Revenge

Right off the bat, I have to acknowledge what an important film this has become to the LGBT community and recommend the documentary about its star called Scream Queen! My Nightmare on Elm Street, detailing the impact the movie has had on Mark Patton. The subtext (or really text because it isn’t very subtle) elevates the script and different readings transform the movie into a tale of a young man coming to grips with his sexuality, seen particularly in the 80s as a dangerous thing. Another possible reading related to this interpretation is that Freddy’s attempt to possess the lead actor is a metaphor for the AIDS crisis going on during the time of the film. There’s much more to chew on for this movie’s thematic messages than perhaps any of the other films on this list. Jesse joins the other Nightmare leads like Nancy, Kristen, and Alice in being some of the most compelling main characters in a horror franchise, and he is the rarer male lead in this genre dominated by the “final girl.” As another positive, the entire film’s atmosphere feels like a boiling fever dream, complete with buckets of sweat and bizarre sequences like Jesse ending up in a gay bar late at night only to be confronted by his coach who takes him to the school to run laps, only for the coach to be killed after being stripped, tied up, and whipped with towels. Unfortunately, much of the film’s scares involve animals, including a snake, rat, and even a parakeet, which aren’t really that frightening by themselves. The pool scene with Freddy running around like a standard slasher is a bit silly too, although it gives us the great “You are all my children now” line. The supporting cast also lets the rest of the film down a bit as they just aren’t captivating or developed. Additionally, there is far too much time spent between the nightmare sequences building to the kills which aren’t quite as imaginative as the previous or subsequent entries thus making the time spent leading to them feel a bit misused at times. Freddy, on the other hand, is scary and his design is perhaps the best of the series with the knives coming out of his fingers and the make-up giving him a more witch-like design. This film also probably relies on Freddy’s finger knives more than any other entry since the possession of Jesse is often visualized through the glove. The movie on the whole feels a bit disconnected from the rest of the series, as it lacks the elaborate set pieces in favor of developing a sense of confusion and dread as Jesse increasingly loses his sense of self to Freddy’s machinations, leaving ripe for Freddy to posses Jesse to do his killing. With a few alterations, this really could be an all timer, especially with its show stopping sequence of Freddy emerging from Jesse. Sadly the uneven scares and dull moments in between the few engaging sections make for a more frustrating piece, albeit one that is massively important to the horror and LGBT communities. SCORE- 6.9/10

12. Freddy vs. Jason

The definition of an event film, Freddy vs. Jason attempted to capitalize on a decade of fan speculation and the seed planted by the end of Jason Goes to Hell. The success of that effort is certainly debatable, but when the two killers meet, the fights presented deliver on the premise. The film’s story is certainly more Freddy centric, although Jason gets more kills. The idea of Springwood trying to erase Freddy by locking up anyone who remembers/dreams of him and prescribing dream denying drugs (Hypnocil from the third Nightmare film) and quarantining the fear of the razor-gloved killer is an interesting premise. Unfortunately the cast is primarily made up of stock caricatures which seem right out of the later Friday films but with a 2000s flair. The mystery of Freddy is interesting enough to keep your attention, and the characters aren’t as annoying as they are just flat, which is a plus. There is some shoddy CGI here and there, but when it counts, the blood is practical and the kills are brutal. But the movie really is just dressing for the final confrontation between Jason and Freddy, a skirmish with some imagination, brutality, blood, and even a bit of needed humor. Since Freddy talks, he is the star and as a swansong for the character, the ending with Jason holding the decapitated head of Freddy before a wink and a laugh from our Springwood slasher sends Robert Englund’s most iconic role out on a high note. There’s spectacle to spare, even if the narrative and characters could have been developed a bit more. A good enough entry for the Nightmare series, perhaps a disappointing one for the Friday franchise, kudos should be given to those involved for not botching the whole thing and giving fans a serviceable and often fun, indulgent crossover. SCORE- 7/10

11. Friday the 13th Part 3(D)

After two fun entries into the franchise, the third installment in the saga of Jason Vorhees is a bit of a step backwards, relying a bit too much on repeating the formula from the previous two films with little variation. “A groups of young adults/late teens go to stay at Crystal Lake, only to be viciously killed by Jason” is the blueprint for the majority of the films in the franchise, and this is no different making it almost a carbon copy of Part 2. The biggest difference between this and Part 2 is the use of 3D which just look silly when watching the film in standard 2D as popcorn, yo-yos and baseball bats are pointed directly into the camera. This reliance on a gimmick takes away from the film a bit and kind of shatters any illusion and engagement. That said, this is the movie where Jason gets his iconic hockey mask, and the image of Jason reaching for the final girl with an axe through his mask is one of my favorites from the franchises. There are still creative kills involving a spear gun, a burning fire poker, and Jason’s own bare hands and the corresponding effects are fantastic. One of the better things about these first four films is how they strive to tell a complete story, and this entry takes place in the middle of Jason’s reign of terror, but the design change is a bit abrupt, with Jason losing his longer hair and gaining a bit of bulk seemingly overnight. When this is coupled with a flashback scene involving the final girl Chris which features the new Part 3 design, the tighter continuity begins to unravel a bit. Finally, ending the film on yet another dream sequence (this time with Pamela’s corpse rising out of the water to grab our heroine) solidifies the repetitive nature of the movie. None of the negatives completely derail the film, and fans are left with a fun but formulaic entry into the franchise with some iconic sequences. SCORE- 7/10

10. Friday the 13th (2009)

Maybe the first controversy on the list? Placing the remake over the previous entries may be even blasphemous to some, and I’m not trying to come at anyone with a hot take or anything. However, this remake is probably the best-case scenario for a horror remake, particularly from this era. The movie is more or less a distillation of the first four films, opening with the demise Pamela Vorhees and picking up with a group of hapless campers as Jason picks them apart one by one including a couple of truly fantastic kills. The first is a sadistic twist on the sleeping bag kill, with Jason tying the sleeping bag over a fire to slowly kill his victim and draw in another who steps right into a bear trap. Back in a seemingly abandoned cabin, Jason is using the space underneath to stalk his victim while thrusting his machete through the floor. These are slower deaths than fans may be used to, but they are no less memorable. The scene ends with Jason (back to the baghead design) RUNNING after his final victim before cutting to the credits. Since Part 6, Jason had been a lumbering zombie so to see a return to this more kinetic version is a real treat. Even detractors cite this sequence as the best part of the film, and they aren’t wrong. The film never quite reaches those heights again, but the rest of the story is a return to formula after past entries pitting Jason against a knock off Carrie, riding a boat going to New York, hopping from possessed body to body, going to space, and taking on Freddy Krueger. Perhaps it is too reliant on that formula, but the characters in the latter 2/3rds aren’t drastically worse than previous installments, and it manages to deliver on one of the few failures of Part 4- the brother of a Jason victim searching for his sibling/revenge who actually gets to complete his mission. Played by Supernatural superstar Jared Padalecki, Clay is charismatic and has easy chemistry with future Flash star Danielle Panabaker. These two leads aside, the comedic relief duo are fun but a bit dated, while the rest range from bland to completely unlikeable. The ending essentially combines the finales for Parts 2 and 3 as Clay’s sister uses her resemblance to Pamela to trick Jason before finishing him off in a barn. The immediate scene with Jason popping up through the dock is unnecessary and relies too much on the original films’ final scare to leave the audience with a rather dulled impression. There’s a lot to really like about this one, but in between one of the best Jason portrayals in the series and some really brutal kills there is a lot of bland fluff that makes it a bit forgettable for some. SCORE 7.1/10

9. A Nightmare on Elm Street 5: The Dream Child

Maybe the most underrated film in the Nightmare franchise, the fifth installment follows the survivors of the fourth film as Alice is once again visited by Freddy Krueger, witnessing his rebirth. Freddy proceeds to kill those close to Alice, beginning with her boyfriend Dan using some truly imaginative nightmare with fantastic practical effects. One of the frustrating things about The Dream Child is how obvious the cause of Freddy’s return is (he is using Alice’s unborn child’s dreams to reach others) to the audience but is seemingly lost on Alice herself. Another frustrating aspect is the juxtaposition of “MTV Freddy” with the more somber tone and gothic atmosphere the film tries to impart. The movie literally opens with a comparison of conception, with a tender lovemaking scene between Alice and Dan preceding a flashback of Amanda Krueger being forgotten about and locked in with “100 maniacs” in an asylum who proceed to rape her over the course her accidental imprisonment. It’s dark stuff, so when Freddy becomes a riff on Superman or rides a skateboard it can take the audience out of the moment. The kills, however, are extremely cruel and painful looking showcasing Freddy’s sadistic side, particularly as he feeds a young woman food and even parts of her playing upon her body image issues. The real strength comes from actress Lisa Wilcox who reprises Alice in a much more confident role than in the bulk of the previous film. Here, Alice is fully formed and terrified for her friends and her baby, but she knows she can beat Freddy again if she just figures out how. The supporting cast is also quite good, and we get several scenes of them just hanging out as friends which humanizes them. As a fun plus, Alice’s dad is a reformed alcoholic, picking up directly on threads from the fourth film, giving this middle trilogy of Dream Warriors, Dream Master, and Dream Child a real sense of continuity. The film can also be read as pro-life understanding on the unborn as well, showcasing two surprise pregnancies going to term, and the firm stance that the unborn Jacob (Alice’s baby) is alive and perhaps has consciousness. The story as a whole doesn’t make a whole lot of sense, as feeding Jacob the souls of Freddy’s victims is left fairly vague in terms of consequences. Overall, it feels like Freddy wants to possess Jacob or use him to further his reign, but other than that, his plan isn’t developed. The comic book kill is also a bit silly when “Super Freddy” shows up, but the effects and design are still top notch even for that sequence. It lacks the energy of the previous film and contains a more obnoxious Freddy, but there is still a whole lot of heart, imagination, and scary goodness in Dream Child. SCORE- 7.4/10

8. Friday the 13th

Perhaps my next bout of controversy for this list? This is a good movie, and one of the most important films of the genre, essentially kickstarting a wave of 80s slashers, including A Nightmare on Elm Street, and even influencing the Halloween franchise. The latter development is especially ironic considering that Friday the 13^th was conceived as a cash-in for Halloween’s success. The plot is paper thin- after an intro featuring two counselors being murdered in the 50s, in “present day” (at the time of the film’s release) a group of counselors are getting ready to open up Camp Crystal Lake. A mysterious killer stalks and kills them one by one, until only Alice (different character than the Elm Street version) is left. A stranger arrives, and Alice thinks she is saved, only for it to be revealed that the woman is Mrs. Voorhees who is hell bent on ensuring the Camp is never opened because her son, Jason drowned there while counselors were too busy having sex. Alice decapitates Mrs. Voorhees and escapes on a canoe, but before she can be rescued, a deformed child rises out of the lake to pull her back, although this is revealed to be a dream. Nevertheless Alice warns the officers “He’s still there…” Oh how right she would be. Alice is a good final girl, and the cast is very likeable, including a fresh Kevin Bacon. This is a bit of a whodunnit, although there aren’t too many clues, and the killer is only introduced at the end. The killer is obscured through hiding in places to kill her victims and the use of POV shots from the killer’s perspective. But what people remember are the kills courtesy of FX master Tom Savini, who created the gorey gags and the Jason design. Whether it’s Kevin Bacon being killed with an arrow through the neck from an assailant hiding under the bed, or the merciless hunting of Annie, the hitchhiking counselor, these are the moments that have stuck with audiences for the decades to follow. Betsy Palmer plays a truly memorable, unhinged Mrs. Voorhees (not given the name Pamela until further installments), whispering to herself in Jason’s voice “Kill her mommy, kill her” which would be used for the iconic “ki ki ki, ma ma ma” sound in the fantastic score by Harry Manfredini, drawing upon Pyscho as a clear musical inspiration. The first film established the formula along with some great FX, setting the stage for a franchise built on having a fun time without demanding too much from the narrative. SCORE- 7.5/10.

7. Friday the 13th Part 2

The best way to describe this second entry is “It’s like the first one, but even better!” We open with flashbacks to the original film as Alice wakes up, still haunted the events of the first movie. She discovers the head of Mrs. Voorhees in her fridge and is shockingly murdered by a man with an ice pick. Five years later, and we get the same story- a group of counselors try to open up a camp on Crystal Lake only to be picked off by a murderer. A camp fire tale retcons the first film a bit, adding the idea that Jason survived his drowning, lived in the woods off of the land, only to see his mother decapitated. How much of that story is actual canon is unclear, but Jason is the killer here in his more hillbilly design complete with overalls and a burlap tied around his head with one eye hole cut out (my favorite design, clearly influenced by The Town that Dreaded Sundown. The characters are even better here, with wheelchair-bound Mark standing as a potential “they surely wouldn’t kill him… would they?” character. Jason is relentless and terrifying here, even after he is revealed following mostly POV or obscured shots. His murder of Mark, impaling of the couple making love, and the opening with Alice are among the most shocking deaths of the franchise. Jenny is perhaps the series’ best final girl, utilizing her psychology background to put on Mrs. Voorhees’ sweater (found on a disgusting shrine to Mrs. Voorhees complete with her severed head) to trick Jason into thinking Jenny is his mother. The ruse falls short, but Jenny still gets the final machete shot in, before the whole thing ends in a (fantastic) dream(?) sequence of Jason bursting through the window, revealing his real face before fading into Jenny being taken away. Jason’s reign of terror begins here, and while there isn’t much imagination in this entry, it’s still fun, and the formula is fresh. It’s as basic as a horror sequel gets, but that often works in its favor. At its core, this is still a film about killing and a bit of sex, an indulgent combination which may not be for everyone. SCORE – 7.8/10

6. Wes Craven’s New Nightmare- 8.5/10

If you had asked me 15 years ago, I would have put this in the top 3, easy. My most recent watch was far less kind, as the movie often decides to lean too much on the first film, recreating a few scenes which detract a bit from a film which is so narratively daring. There’s probably a thematic reason there for the recreations, but it makes for a less interesting watch, and the effects towards the latter act are extremely dated by today’s standards. With those criticisms aside, this is one of the most inventive horror films ever made, and a real treatise on the genre itself. Wes Craven is making a new Freddy film and calls upon Heather Langenkamp to star, reprising her role as Nancy from the first (and third) Nightmare on Elm Street. That’s not a behind the scenes tidbit, that’s the crux of the story. The movie follows Langenkamp playing herself as it becomes clear that a real evil force is using the Freddy mythos to take form and wreck havoc on her life. Lagenkamp’s real life struggle with a stalker can be felt in her performance as she is confronted with one in the movie. Robert Englund also gets to play himself, even playing himself playing Freddy for a surprise talk show appearance with Langenkamp. This Freddy makes for an excellent companion piece to New Nightmare’s vision of Freddy, with the former still in his joking, MTV host mode and the latter being quieter and more cruel/sadistic/patient. Wes Craven explains that evil can only be contained in storytelling (including film) and that his Nightmare series did just that, but the story has become diluted and too familiar, so the evil, now enjoying the Freddy form, is entering the real world. The concepts here aren’t as developed as they should be, but Freddy looks better than he has in the last two entries, and his trench coat and new finger knife glove help make him more intimidating than past iterations. The opening playing right off of the first seconds of the original film, is certainly the most effective callback, and the film overall has a great sense of dread. However, it is Lagenkamp’s performance that truly anchors the film, and transforms it from a meta mediation of horror into a truly gripping story of a woman dealing with identity and the lingering effects of the legacy of her most famous role. If the ending had relied more on the practical effects and capitalized a bit better on this version of Freddy (whose reveal should have been handled a bit better) this might have truly the film Wes Craven envisioned. As is, this is a horror epic, inventive and ambitious. While Freddy vs. Jason may have been the perfect coda to the character of Freddy Krueger, New Nightmare is a fantastic ending to the film series and all that it means to pop culture and stands out as the best ending to a horror franchise to date, flaws and all. SCORE- 8.5/10

5. Friday the 13th Part IV: The Final Chapter

For many fans, this may be the quintessential Friday the 13^thentry, and it’s easy to see why (also the first installment to switch to Roman Numerals). It picks up immediately after Part 3, continues Jason’s rampage. Instead of just having a house full of teens/young adults to pick apart, The Final Chapter throws a fun wrench into the mix with the extremely wholesome and engaging Jarvis family, introducing the only protagonist to go toe-to-toe with Jason in two different films (plus a Jason copy-cat)- Tommy Jarvis played perfectly by Corey Feldman. Tommy is a clear love letter to effects wizard, Tom Savini, who comes back to kill his own creation for the fourth installment, and Savini lends his incredible effects to elevate the kills which are among the best of the franchise. This homage to Savini is illustrated wonderfully by Tommy’s mask making and ingenuity in devising other little effects he loves showing off. His sister, Trish, is a strong character prepared to make the sacrifice for her brother, only to watch helplessly as her brother succumbs to a violent rage, hacking Jason to death and implying that the legacy of violence may have been passed down to Tommy. On the other side of the road, the teens are pretty fun, with Crispin Glover making perhaps the most lasting impression with his iconic dance and corkscrew death. One area the film drops the ball a bit is Rob, here to avenge his sister’s death from Jason’s murder spree. Not only does this give us potential continuity problems- as Rob’s sister would only have been dead for a few days and thus making it harder for the audience to swallow Rob as already moving into his role as desperate Jason hunter hot on the trail- but Rob meets an iconic yet somewhat humiliating death, screaming at Trish to “Run!” and “He’s killing me!!” It may have all been a narrative misdirect, but it still feels something more could have been done for Rob, as his chemistry with the Jarvis family is great, and his overall purpose seems to have inspired a decent part of the remake’s story.  On that note, it is strange that we are four entries into a series with 10 installments along with a crossover and reboot, and we are already seeing the word “final” in the title, which of course is a total lie. Jason would, of course, be back very soon. While still relying on the formula and featuring a fairly superficial story, The Final Chapter has a smidge more to chew on, with the theme of “horror is contagious” introduced via Tommy’s ruthless killing of Jason and is an outline for a successful slasher sequel. SCORE- 8.5/10

4. Friday the 13th Part VI: Jason Lives- 8.6/10

The best of the Friday the 13^thseries, Jason Lives is a course correction from Part V, ensuring with the opening moments that this film indeed as Jason in it. Tommy Jarvis is back, played by Thom Matthews this time instead of John Shepard who stepped into the role in Part V. From the opening lightning-induced resurrection scene- inspired by universal monster movies like Frankenstein and filmed in a way that works perfectly if you turn your TV to it’s black and white mode- to the subsequent kills, it’s clear that supernatural elements are afoot along with some much needed self-referential humor. This is a movie about a zombie with a hockey mask going around killing people, and the tone fits that perfectly, never making fun of Jason himself, but at the absurdity of the formula and premise. Jason rips limbs off with his bare hands, punches through chests, and smashes faces so hard through an RV side it leaves an imprint of the victim. The kills are memorable, but what works perhaps more so than the senseless murder is the return to camp, this time complete with actual child campers (who are pretty funny in their own right)! This is the first and only film to take place at an already running camp, and it feels like an obvious move. In a lot of ways, the sixth installment is like campfire popcorn- a fun and delicious snack, but much like any snack or entry in the franchise, still essentially empty calories. But that’s okay because Jason Lives knows EXACTLY what kind of movie it is and what to do with its characters. Jarvis spends much of his time flirting with the Sheriff’s daughter, Megan, while trying (and failing) to convince everyone else that Jason is back. The romantic angle might be a bit much, but it results in another fun addition to the film the way it plays out, especially with the showdown relying on Megan swimming to save Tommy while taking Jason out with a boat propellor. Jason Lives is a bit ahead of its time, predating Scream and New Nightmare as a slightly more meta take on the slasher, without jumping headlong into those self-aware waters. It’s a tough balance, but the film manages to do just that. Those wishing to see a frightening Jason may be disappointed, and this is the film where the killer becomes a fairly slow moving juggernaut, but this is the most fun you’ll have at Camp Crystal Lake, and I DARE you not to get Alice Cooper’s “He’s Back (The Man Behind the Mask)” stuck in your head! SCORE- 8.5/10

3. A Nightmare on Elm Street 4: The Dream Master

Maybe the last controversial placement on this list, Dream Master gets to business right away by killing some of our favorite characters of the franchise at the beginning, transitioning to the story to Alice and her friends. For fans of the third film, this might feel like a slap in the face, but it’s the perfect way to establish Freddy as a real threat and sadistic bad guy, despite his one-liners. Yes, this is where MTV Freddy (as he is called) gets his real start, yet his antics are window dressing for some very imaginative set pieces including my favorite nightmare- the transformation of a victim into a cockroach. It’s horrendous and expertly executed, and by the time Freddy smashes the roach motel delivering the final blow, the sequence has already achieved iconic status. There are plenty of other fun sequences, like a time loop of Alice and Dan (her future boyfriend) trying to race to save their friend and a creepy sequence in a theater where Alice finds herself sucked into a film on the big screen. The real star though, is Lisa Wilcox as Alice. The characters from Dream Warriors are discarded, but not forgotten as Kristen (recast for this movie and played by Tuesday Knight who sings the intro song) gives her power of pulling others into dreams to Alice, setting the stage for the film’s story. Alice’s transformation here is some of the best character work, particularly in a horror film. Her lack of self confidence is displayed by a mirror covered in photos of her friends because she does not want to see herself. As her friends and brother die, she absorbs parts of their personalities and skills, and takes down the relating photos until she can finally see herself. Both the scene with Alice using nunchakus like her brother (to the tune of Dramarama’s “Anything, Anything” reprised for the second time) and her suiting up with accessories from her friends are emotionally satisfying. This is perhaps the best finale to an Elm Street film, with a real fight sequence and thematically established nursery rhyme involving “the dream master” being used to defeat Freddy. The supporting cast is fantastic from  her close friends doomed to die in horrific ways, to her loving and more complex-than-he-has-any-right-to-be brother and alcoholic father, all have terrific chemistry with one another. While the more outlandish aspects of Freddy could have been toned down, and the survivors of the previous could have been used a bit better, this is the franchise at its most popular, becoming something of an accidental horror blockbuster complete with awesome soundtrack and satisfying narratives. SCORE- 9/10

2. A Nightmare on Elm Street

Uh-oh, perhaps another hot take? Look this is still a perfectly scored film, but there are a few things keeping it from being my favorite. The ending makes Freddy seem a bit weak at first, then the fake-out features perhaps the worst effect as Freddy grabs what seems to be a blow-up doll of Nancy’s mother through a small hole in the door. All of that out of the way, A Nightmare on Elm Street is in many ways the antithesis of the more simplified Friday franchise. Nightmare is more complex, with subtle narratives about parents failing their children, whether through alcoholism, over protection, negligence or you know…. burning a serial child murderer alive in frustration at the legal system. These themes would be present in many of the other films, particularly coming back in the fifth installment. The entire film is dreamlike so the audience isn’t always sure what is real and what is a machination of Freddy Krueger. The movie features a great fake out like Psycho (and admittedly Friday the 13^th) as we are introduced to a female lead we are sure will be our main protagonist, only to see them killed horribly in front of our eyes. Tina’s death is brutal, dragged bloody across the wall and ceiling before plummeting to the gory bed below. The effects of her murder linger, as Nancy constantly sees the body as Freddy mentally torments her, and the scene of the body bag being dragged in the school hallway is another iconic scene. The dream logic utilized is clever, as it means we don’t ever have to question why a character goes into a spooky room since, in dreams, we all have done fairly irrational things. Freddy Krueger himself is a highlight here, with the film using a less is more approach until the end. The make-up effects are great, especially since he is kept in shadow, and Robert Englund brings an iconic and menacing performance. Like the great giant monsters, Freddy casts an instantly recognizable silhouette, and the opening boxed in scene of the creation of the now famous finger knife glove is the perfect introduction to the movie and character. Oh and who doesn’t love seeing Johnny Depp being swallowed by his bed only for swimming pool’s worth of blood to come out like a geyser? Heather Lagenkamp’s Nancy is played a bit less confidently here than in other entries, but by the time she is tucking her alcoholic mother into bed, it is clear that she is ready to face Freddy. Simply put- A Nightmare on Elm Street is a stone-cold classic. SCORE- 10/10

1. Nightmare on Elm Street 3: The Dream Warriors 10/10

The best horror sequel of all time? Maybe. Dream Warriors marks the point where the franchise becomes truly iconic in pop culture, setting the stage for the huge financial success of its next installment. The third entry takes the creepy but simpler dreams of the first movie and makes them more elaborate and specific to the fears of the victims, a hallmark of the later sequels. Between Freddy turning a victim into a puppet via their tendons, turning his fingers into syringes full of drugs, and transforming a wheel chair into a vicious machine of death, the ambition here is just off the charts. The kids here are in an institution, making them less believable to adults, except of course to a returning Nancy played by again by Heather Lagenkamp. The kids are likeable with discerning characteristics, with standouts including Kincaide and Joey (who actually get to survive!) along with wheelchair-bound Will. The heavy topic of suicide is discussed here, perhaps not favorably by today’s standards, but the introduction is certainly pertinent to the narrative of troubled youths. This of course also marks the debut of Patricia Arquette who plays Kristen- in many ways a co-main character with the power to pull in others into her dreams. Arquette is understated a bit here, but her final lines to Nancy are heartbreaking and emotionally moving. Freddy’s mission to wipe out the kids of his murderers is still front and center here, with the cast being “the last of the Elm Street kids,” a smaller scope which is much appreciated. Where this film really takes off is the world-building as the kids are revealed to be able to develop abilities (like superstrength and sonic screams) in their dreams, setting up a climax on Freddy’s own turf where they can theoretically stand a chance. This is coupled with a returning John Saxon, playing Nancy’s dad, who joins in the mission to consecrate the remains of Freddy, a way of defeating Freddy revealed by his own mother’s ghost who also details the fathering of the infamous Elm Street slasher. There are plenty of scares, emotion, and ambition into this sequel, all of which make for a rewatchable movie which comfortably sits at the head of the pack and a standard bearer in the genre. SCORE 10/10