It’s Jason vs. the eighties version of Carrie White. Because… why the hell not, right? At this point the Paramount series had just about run out of ideas for characters. Tommy Jarvis imprisoned Jason in his underwater chamber doomed to float for all eternity, and there was really nowhere left to go from here. It’s almost like the ending of “H20.” Laurie Strode chopped Michael’s head off. The end! But is it? Yeah, it is. Oh really? No. No it’s not. Aw hell, let’s squeeze another sequel out of our corn holes! I need a new Porsche!
Apparently, Camp Crystal Lake isn’t just a camp, but the surrounding area has been home to some vacationers for years. I never quite understood why Jason only hunted campers and counselors, if “The New Blood” makes it clear any yuppy family can vacation at the spot for the summer. A long time ago in an indeterminate past, Tina witnessed her abusive father hurting her mother and in an effort to run away accidentally killed him. This was due to hidden telekinetic abilities she’d harbored. Many years later she’s taken to Crystal Lake (because the best place to recuperate is on the tourist spot where most vicious murders happen) by her psychiatrist and mother to help explore her hidden psychosis. Meanwhile a group of generic teens end up in the next house prepared for a party and summer getaway.
Tina meets hunky Nick, and runs afoul your usual troop of high school based eighties teens, including evil alpha bitch Melissa. Tina wants to join in on the party but her psychiatrist wants to harbor her super human abilities for government use of some kind, exploiting her emotions. Still distraught over killing her dad, Tina attempts to bring him back from the dead with her superpowers (because that never goes wrong), and wouldn’t you know it? She revives Jason, instead. Now Jason is on a warpath killing off the generic characters and skulking around, while Tina tries to uncover what her psychiatrist has in store for her. Tina’s back story and her character are based largely on Carrie White, and for the most part, Tina is really just an eighties version of Carrie.
Even when alpha bitch Melissa pisses her off, she telekinetically destroys her string of pearls. One thing I do enjoy about “The New Blood” in spite of its inherent silliness, is that it finally gives Jason a match in the way of the supernatural. It’s bad enough Tommy brought him down, now he has to contend with a young girl who can fight back and fight back hard. Once Tina masters her powers and begins bringing Jason down, you can almost hear him fuming in sheer rage underneath his mask most times. All that’s missing is smoke spewing from his ears. From the Paramount entries, “The New Blood” is the second weakest behind “A New Beginning” since Tina’s whole powers are never explained, all the while we never know if these abilities are inherited.
Most of the kills are rather fun, for the most part, as Jason emerges from the lake royally pissed off from his encounter with Tommy, and inflicts massive sadistic carnage on the young sex pots that infest the woods. “The New Blood” works concurrently as a new twist on the formula, but as an inadvertently comical entry. You have to love the deus ex machina of the final scene where Tina’s undead dad comes to the rescue and brings Jason back down in to the lake. He’s not bloated, or rotted, or broken, by any means. Plus you have to figure if Tina killed her dad, the authorities would have taken his body out of the water. But no, dad comes to redeem his abusive ways in a convenient and incredibly campy finale. As slasher fodder I still rather enjoy it, but “The New Blood” is the further look at how the series just became goofier and goofier and hinted at Jason’s inevitable foray in to space.