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WSR Detailed DVD Review
Jason Goes To Hell: The Final Friday
Genre: Horror

Reviewed In Issue 66 (Nov 2002) Of Widescreen Review®

John D. LeMay, Kari Keegan, Allison Smith, Steven Culp, Billy Green Bush, Kane Hodder, Erin Gray & Steven Williams

WSR Review Scores
WSR Picture Rating: 4
DD Sound Rating: 4
DTS Sound Rating: 4
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Reference Systems
Critics' Composite Score: 3
Internet Links

Special Features
You can select the R-rated or Unrated version of the film. With the

 DVD General Information

(Studio/Distributor): New Line Home Entertainment
(Catalog Number): N5626
(MPAA Rating): R & Unrated
(Rating Reason):

Strong violence and gore, and for sexuality and language.
(Retail Price): $19.98
(DVD Type): Single Side, Dual Layer (DVD9)
(Widescreen Edition): Yes
(Full Screen Edition): No
(Anamorphic Widescreen): Yes
(Running Time In Minutes): 91
(Color Type): Color
(Chaptered/Scene Access): Yes
(Closed Captioned): Yes
(Regional Coding): 1
(Theatrical Year): 1993
(Theatrical Release): Yes
(Direct-To-Video Release): No
(DVD Release Date): 10/08/02
(THX® Digitally Mastered): No

 Credits Information

(Director): Adam Marcus
(Screenplay/Written By): Subscribe Now!
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(Costume Designer): Subscribe Now!
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(Supervising Sound Editors): Subscribe Now!
(Re-Recording Mixers): Subscribe Now!
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  DVD Picture Information

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  DVD Sound Information

(DVD Soundtrack): Subscribe Now!
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  WSR Narrative Review
Story Synopsis:
Normally, when you say that someone goes to hell, it

DVD Picture:
The anamorphically enhanced 1.85:1 DVD exhibits an appropriately dark picture that, when viewed in a completely blackened room, offers excellent shadow delineation and just enough visual information to visually heighten the horror and suspense. Images are sharp and nicely detailed, though some scenes appear slightly smeared. Edge enhancement is noticed, especially in the brighter scenes, and can be bothersome. There is also some discernable pixelization. (Suzanne Hodges)

The 5.1-channel sound mix is a remastering effort, and the result is quite astounding and thought-provoking. To say that spatial engagement for this soundtrack is aggressive in nature is actually an understatement. The use of dimension, particularly for the surrounds is unusually distinct and prominent. You really need to experience this for yourself to get the idea of just how the creativity was used as part of the eerie storytelling. Much of the audio originates from the front and surround left/right channels. There