J.D.’s Revenge (1976)

An interesting horror/thriller often cited as one of the best of the blaxploitation movement.  Set in New Orleans, happily married and diligent law student Glynn Turman starts to have Jekyll/Hyde tendencies after being hypnotized during a Bourbon Street nightclub act.  Seems the spirit of gangster J.D. Walker has come back seeking retribution against those responsible for the murders of both his sister and himself.  Turman turns in a terrific two-fisted (and faced) performance as the kind literate Ike and the snarling, jive-talking, zoot-suit wearing J.D. persona, and Lou Gossett, Jr. shows his stuff as a charismatic gangster-turned-preacher.  There’s not really much horror here, per se, although the scenes of Turman physically thrashing and raping his wife are pretty strong stuff.

Jason Goes to Hell: The Final Friday  (1993)

After being kicked to the curb by Paramount following the disappointing returns of Jason Takes Manhattan, New Line Cinema happily adopted the orphaned serial-killing monolith.  This, the ninth chapter in the series, introduces a knowing comic flair and some truly wacky mythology to explain Jason’s unstoppable nature:  A Voorhees can only be truly killed by a Voorhees, and then only when wielding a mystical dagger, currently in the possession of gonzo bounty hunter Steven Williams.  (So, how did Mrs. Voorhees…oh, never mind, that was eight movies ago).  Since Jason’s body gets blown to pieces in the opening sequence by an assault team, Jason’s ever-murderous spirit must move from victim to victim (primarily in the form of a nasty-toothed worm) until it can be reborn through a Voorhees descendant.  Wow, heavy stuff.   So, the stage is set as Kari Keegan, the last limb in the V. family tree, is doggedly pursued by Jason (in whosever body he happens to occupy at the moment), Williams, and Erin Gray as Keegan’s mom.  While fans may be disappointed by the minimal presence of Kane Hodder’s hockey-masked countenance, there is more than enough gore to satisfy the hounds, and Adam Marcus directs with an enthusiasm absent from the series for a long time.  Even if it seems like writers Jay Huguely and Dean Lorey are just making things up as they go along, the film is never boring as it bravely attempts to take the series in a different direction.  Williams is a hilarious standout amidst a relatively competent cast.  Watch sharp for cameos by props from other horror flicks, including Evil Dead’s “Necronomicon” book, the crate from Creepshow and the jungle gym from The Birds.

Jason X  (2001)

While the concept (“Jason in Space”) smacks of utter desperation, this is actually the most fun to be had at a Friday the 13th movie in ages.  Granted, the loony plot asks its audience to check its brain at the door and just go along for the ride, but it’s a heck of a great ride, combining elements of The Terminator, Aliens, The Matrix, and half a dozen other movies in a boffo bloody smorgasbord.  It’s a whopper of a setup:  Jason, having proven himself utterly indestructible, has been captured by the military and ends up cryogenically frozen in a top-secret scientific compound.  Flash forward 455 years, where a futuristic university field trip uncovers him and brings him aboard their spaceship filled with lots and lots of nubile student scientists and macho military types.  Can you smell where this is going?  As expected, Jason gets thawed out and unleashes his old-school brand of mayhem on the ship’s inhabitants, along with a few new twists (the frozen face set piece is quite original and quite messy).  And just when you think things can’t get any zanier, through a turn of the cybernetic screw, Jason is transformed into a literal killing machine.  The good times just don’t stop.  Director James Isaac utilizes a fair amount of computer-generated effects employing them wisely, and Todd Farmer’s script provides a generous amount of legitimately, intentionally humorous moments and dialogue (along with a few groaners).  The undeniably attractive cast is capable and efficient across the board, but best of all, F13 veteran Kane Hodder is actually given the opportunity to do something as Jason other than just mindlessly disembowel the masses.  He actually gives a bona-fide performance here, filled with sly, nonverbal takes that elevate the proceedings enormously.  Infectiously entertaining nonsense for aficionados and casual fans alike. 

Jaws  (1975)

From its harrowing opening sequence to its breathtaking climax, Steven Spielberg’s hugely successful masterpiece of suspense scared audiences out of the water and into theaters in record-breaking numbers.  The plot itself is simplicity enough:  The locals of the northeastern island town of Amity start turning up as fish food when an enormous great white shark materializes, leaving fear and body parts in its wake.  Peter Benchley’s adaptation (with Carl Gottlieb) of his own bestseller charts the wise course of creating vivid characters that are as memorable as the scenes of teeth-chomping terror.  Armed with a top-notch cast of Roy Scheider as the local sheriff with a healthy fear of water, Richard Dreyfuss as a feisty oceanic expert, and the brilliant Robert Shaw as the gnarled shark hunter Quint, there is nary a wasted onscreen moment.  Despite being plagued with problems during production, Spielberg ratchets up the tension time and again, each thrill more nail-biting than the last.  He is ably assisted by John Williams’ Oscar-winning score, one of the most famous in movie history.  By focusing equally between its engaging, likable human protagonists and the monster’s mayhem, a modern horror classic emerges that still holds up after multiple viewings.

Jaws 2  (1978)

Following Exorcist II, this may be the most disappointing follow-up to a great modern horror film in history.  Armed with a killer tagline (“Just when you thought it was safe to go back in the water…”) and not much else, sheriff Roy Scheider again takes up the mantle of reluctant shark hunter when another massive great white shark menaces the sun-loving swimmers of Amity Island.  Sadly absent, however, are Richard Dreyfuss, Robert Shaw, and Steven Spielberg, and with them all of the magic and character chemistry that elevated the original.  Instead, we are subjected to oodles of forgettable screaming teenagers, slimy real-estate developer/villain Joseph Mascolo, and endless scenes of an impossibly fake-looking shark trolling for his next meal.  Pre-dating the slasher movies to come, Bruce the Shark’s victims are a long line of faceless humans only there to be munched for our viewing pleasure.  The numerous gory and suspenseless set pieces are memorable for all the wrong reasons, succeeding only in being ludicrous to the point of laughter (i.e. the helicopter, the water-skiers, etc.).  While still managing to rake in the dough when released, the whole affair ends up smelling like a big dead mackerel, sullying the memory of a landmark motion picture.  Cast your line elsewhere.

Jeepers Creepers (2001)

Despite the semi-silly title, this is a marvelously entertaining monster-on-the-loose flick, one that certainly deserves re-evaluation by the horror community at large.  The opening sequence alone yields among the most harrowing 15 minutes captured on screen in the 21st century, and the rest of the film follows ably in its wake.  Driving home for college summer break, siblings Gina Philips and Justin Long play a dangerous game of cat-and-mouse with a strange humanoid creature wearing a distinctive duster and slouch hat.  Pure B-movie monster stuff, but handled with skill and energy by director Victor Salva, who also scripted.  There’s gore, there’s thrills and chills, and some excellent spooky imagery, not to mention the nifty creature design.  In short, there’s a lot to like here.  Well worth checking out, as well as its worthy sequel (also by Salva).