I come from an age when horror happily churned out a new Jason Voorhees film almost every year, and looking back, just how much did I take that for granted?
It seemed that Jason, along with Freddy and Michael, would be around forever. Sequel after sequel, each cherished by fans despite the diminishing returns. It was a golden age of horror, and while Michael Myers has returned to Haddonfield in recent years, Jason hasn’t been seen on the big screen since 2009, with a lengthy legal battle over the franchise rights being a major factor in keeping him buried beneath the murky waters of Crystal Lake.
So, watching Crystal Lake, a brand-new television series being sold as a prequel to the films, but which in reality feels more like a remake of the original 1980 classic, was an absolute thrill.
Great care has clearly been taken to please the fans, with an obvious determination not to upset the franchise’s legacy. For much of its running time, it’s as faithful as you could possibly hope, although it takes one enormous swing towards the end, explaining far more than I personally felt was necessary.
But damn, it’s great to be back at Camp Crystal Lake, a wonderful reminder of a time when horror was simply about having fun and spilling buckets of blood.
Linda Cardellini takes over from Betsy Palmer as Pamela Voorhees, the devoted mother of Jason, whom we see here as a young, talkative boy struggling to adapt because of his disability. Hoping to give him a chance at a normal childhood, Pamela sends him to camp, where, of course, tragedy strikes when the counsellors are too busy indulging in the obligatory premarital sex to notice that the poor boy is drowning.
Nine months later, Pamela is struggling to come to terms with her loss. We, as fans, know Jason is alive, but surely he can’t make an appearance until the very end, can he? You know, that infamous jump scare from the original?
Well, this is television, and things inevitably have to change. An expanded backstory is introduced, although fans needn’t worry, because that legendary boat moment receives its own affectionate tribute.
As for the additional plot, two mysterious strangers arrive at Pamela’s home, setting in motion a series of revelations that suggest both she and Jason have a history stretching back long before they ever arrived in Crystal Lake.
And then there’s the opening finale.
A delightfully ridiculous bloodbath that embraces everything this franchise has always stood for, while revealing more about the events that will eventually shape Jason into the unstoppable killing machine we all know and love.
The retro atmosphere is an absolute joy, and the countless homages serve as a reminder of just how much the Friday the 13th films have been missed. From the familiar POV killing shots to Henry Manfredini’s iconic ki-ki-ki, ma-ma-ma theme, the series understands exactly what made these films so beloved.
And to actually see Camp Crystal Lake open for business, swarming with teenagers once again, is a delight, something that brings back fond memories of Jason Lives.
As for the decision to unmask Jason’s mythology and give him a more defined motive, well, I found much of it unnecessary. Sometimes the mystery is far more terrifying than the explanation, and Jason Voorhees has never needed an elaborate psychological backstory to make him one of horror’s most iconic monsters.
Thankfully, it doesn’t ruin the enjoyment.
The sack-over-the-head look makes a welcome return, with no hockey mask in sight, but ultimately this is Linda Cardellini’s show.
She carries the entire premise, even through the weaker episodes, delivering a performance that suggests she’s having an absolute blast stepping into Betsy Palmer’s legendary shoes.
And because of that, so are we.
Welcome back to Crystal Lake. We’ve missed you.
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