There’s a masculine strength to Vorhees with Hodder’s control, but that’s still not much for a movie. His silent voice comes through Hodder’s touch, the way he snaps up a machete, how carelessly he waves a power tool, how ferociously he chokes and throws those in his way. Of the mainstream slasher villains, Vorhees’ needed such an actor to finally achieve defining personality, because the scripts themselves never did. Plus, Kane Hodder, taking the Vorhees role for the first time, gives the undead maniac a fearsome, aggressive posture. A bigger budget leads to electrocutions, dangerous stunts, an explosion, and more lavish setpieces. Now, he’s punctured by nails and set ablaze. Instead, Tina exists because having Vorhees slammed into things, hacked up, or thrown through windows by heroes and heroines became passe. Sadly, the script lacks nuance or depth to render Tina an interesting character. She buries her rage, rarely losing control. Rather than directly correlate the material, Tina spends the movie put down by kids next door, or wanders around in a panic as her doctor treats her like an experiment.
Tina’s alcoholic, abusive father met his fate at Tina’s own hand, something she carries with her into adulthood. The latter falls into The New Blood’s lap, Tina a likely catalyst to examine trauma after Tommy Jarvis’ run as a franchise hero. As with other movies in this series, concepts brings up intriguing potential, either to deepen the Vorhees story or explore thematic angles. Yes, The New Blood brings in a fresh opponent and idea, but other than listlessly leading toward a showdown, it’s clear the ideas were left chained with Jason at the lake’s bottom.
A record number of false scare twig snaps. The New Blood at least ends with something memorableīetween those cinematic endcaps, The New Blood lets things be.
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