When Jason Goes to Hell premiered in 1993, it was met with confusion, frustration, and in some cases, outright rejection. Fans expecting a straightforward slasher with Jason Voorhees stalking teenagers at Camp Crystal Lake instead got a body-hopping supernatural thriller filled with mystical lore, FBI stings, demonic parasites, and magical daggers. At the time, the disappointment was understandable. But in the years since, the film has aged curiously well. Removed from the shock of not being a “real Jason movie,” it’s become easier to meet the film where it stands and judge it on its own offbeat merits.
The film opens with what might be the most surprising and action-packed scene in the entire Friday the 13th franchise: Jason is lured into a trap by the FBI and blown to bits in a hail of gunfire and explosives. It’s outrageous and self-aware, sending a clear message that this is going to be a very different kind of Friday the 13th film.
What follows is an ambitious genre mashup. Jason’s heart is taken to a morgue, where it seemingly hypnotizes a coroner into consuming it, leading to Jason’s essence jumping from body to body in a possession-style spree. Gone is the hulking, silent killer in a hockey mask for most of the movie; instead, we get a series of proxy killers who carry out Jason’s murderous intent while he searches for a way to return to his original form, specifically by being reborn through a blood relative.
What’s most surprising about Jason Goes to Hell is how hard it leans into world-building. Director Adam Marcus and screenwriter Dean Lorey don’t just shake up the formula—they obliterate it. The film introduces an entirely new mythology for Jason, including the idea that he can only be truly killed by a magical dagger wielded by a member of his bloodline. There are echoes of The Evil Dead, The Hidden, and even The Exorcist, all wrapped in a horror-fantasy package that feels wildly different from the first eight films.
At the time, many fans bristled at this shift, and for good reason. Jason’s allure was his simplicity—a near-mythic, silent embodiment of vengeance and brutality. Turning him into a demon-possessing worm with ancient lore and bloodline rules felt like over-explaining something that never needed to be explained. But with distance, it’s easier to appreciate the sheer audacity. The film swings for the fences, and while not all of its choices land, you have to admire the creative risk.
One area where Jason Goes to Hell excels is in its practical effects. Thanks to the legendary KNB EFX Group, the gore is spectacularly over-the-top, featuring inventive, gruesome kills that remain some of the most memorable in the franchise. The infamous tent kill, in particular, is a standout—brutal, shocking, and delivered with visceral impact.
The film also benefits from a strong supporting performance by Steven Williams as Creighton Duke, a mysterious bounty hunter who knows Jason’s secrets. Duke is one of the more interesting characters introduced in the later films, and his strange, cryptic demeanor brings a welcome dose of mystery and pulp energy.
John D. LeMay, as the film’s reluctant protagonist Steven Freeman, does a solid job holding the chaotic narrative together, though the supporting cast is a bit of a mixed bag, often undermined by clunky dialogue and rushed character development.
Even with the benefit of hindsight, Jason Goes to Hell isn’t without its problems. Chief among them: Jason Voorhees is barely in the film. While the body-swapping conceit is unique, it robs the movie of its icon’s physical presence. The hulking, masked killer doesn’t return until the final 10 minutes, which remains a sticking point for many fans.
The mythology, while ambitious, is also muddled and inconsistently delivered. The rules around Jason’s resurrection and destruction are both overly complex and underexplained. Magical daggers, ancient evil, secret family bloodlines—it’s a lot, and the film often expects audiences to simply go along with it.
Tonally, the movie veers wildly between camp, horror, and supernatural action. Some moments play like self-aware parody; others take themselves very seriously. This tonal whiplash can be jarring, and while the film’s eclectic approach has its charm, it also prevents a cohesive atmosphere from ever really settling in.
Despite its rocky initial reception, Jason Goes to Hell has slowly earned a cult following, particularly among fans who enjoy horror oddities and franchise detours. Its reputation has improved over time, thanks in part to its boldness and its practical effects, but also due to the nostalgia for the era of early '90s horror when studios were willing to take strange risks with iconic characters.
And of course, the film's closing scene remains legendary: after Jason is dragged to hell (literally), a gloved hand bursts from the dirt to drag his hockey mask underground—Freddy Krueger’s hand. It was a jaw-dropping final image that teased a crossover fans had dreamed of for years, and while Freddy vs. Jason wouldn’t materialize until 2003, that last moment cemented the film’s place in horror history.
Viewed today, Jason Goes to Hell feels less like a betrayal of the franchise and more like an ambitious outlier—a bold experiment in myth-making that both fails and fascinates in equal measure. It's still not for everyone, especially those craving a classic slasher experience. But for viewers willing to embrace its weirdness, there’s something oddly compelling about watching the franchise take such a sharp left turn.
Time has been kinder to it than the box office or critics initially were. It’s a mess, but it’s a fascinating mess. And in a franchise that has often thrived on formula, Jason Goes to Hell stands out simply by daring to be something different.
Bonus Materials
The Jason Goes to Hell: The Final Friday 4K Ultra HD Blu-ray Limited Edition from Arrow Video is a must-have for fans and collectors. Featuring both the Theatrical and Unrated Cuts in stunning 4K with Dolby Vision, this release delivers the most complete and visually enhanced version of the film to date. Bonus materials include insightful new interviews with key cast and crew, such as make-up artist Robert Kurtzman and composer Harry Manfredini, and multiple audio commentaries offering a deeper perspective on the film’s unconventional approach. The package includes reversible artwork by Gary Pullin, a foldout poster, and a collector’s booklet with new essays and original production notes. Archival extras, including Kane Hodder’s reflections and behind-the-scenes galleries, round out a robust selection of supplements. For longtime fans and horror completists, this edition not only restores the film but contextualizes it with care and thoughtful presentation.
4K ULTRA HD BLU-RAY LIMITED EDITION CONTENTS
- 4K (2160p) Ultra HD Blu-ray presentation in Dolby Vision (HDR10 compatible) of both the Theatrical Cut and the Unrated Cut
- Original lossless stereo and DTS-HD 5.1 surround audio on both cuts
- Optional English subtitles for the deaf and hard of hearing on both cuts
- Reversible sleeve featuring original and newly commissioned artwork by Gary Pullin
- Double-sided foldout poster featuring original and newly commissioned artwork by Gary Pullin
- Illustrated collector’s booklet featuring new writing on the film by JA Kerswell and original production notes
DISC ONE – THEATRICAL CUT
- Introduction to the film by director Adam Marcus
- Faces of Death, a brand new interview with special make-up effects creator Robert Kurtzman
- Undercover Angel, a brand new interview with actor Julie Michaels
- Mixing it Up, a brand new interview with composer Harry Manfredini
- The Gates of Hell, an archival interview with director Adam Marcus
- Jason vs. Terminator, director Adam Marcus on growing up with the Cunninghams
- Über-Jason, an archival interview with Kane Hodder on playing Jason
- Additional TV footage, with optional commentary by director Adam Marcus
- Theatrical trailer and TV spots
- Still, behind-the-scenes and poster galleries
DISC TWO – UNRATED CUT
- Brand new audio commentary with film historians Michael Felsher and Steve “Uncle Creepy” Barton
- Archival audio commentary with director Adam Marcus and author Peter Bracke
- Archival audio commentary with director Adam Marcus and screenwriter Dean Lorey