- Published on
When it comes to Science Fiction and Fantasy films of the 1950’s, one thing was almost always unmistakably clear: we were, societally, well on the way to our collective doom!
You see, mankind had dabbled with the unthinkable – namely, atomic power – and now we were paying the consequences. Alien civilizations had seen our dalliance with such dangerous science, and now they were heading here from far, all with aspirations at taking over our little blue planet. Scientists – often depicted as both heroes and occasionally villains in such pictures – were front-and-center when the action was taking place; and these surprisingly morally-minded men would only do what they thought best for mankind, even if their decisions flew in the face of logic. But because the United States had the bomb, that meant every nation around the world could also have one; and such a development clearly put us well down the path toward planetary annihilation.
As one can imagine, a great many of these ideas inspired storytellers to spin tales across a variety of perspectives; and yet very few of them actually investigated possible solutions to avoid our extermination. Oh, a good number of these pictures tacked on a scene near their end credits, warning those folks watching that mankind had better change their ways or else something dark could transpire. But because these were still movies after all the producers felt compelled to entertain far more than they could educate, instead using SciFi and Fantasy more as the inspiration to make money off our fears while only mildly cautioning patrons to do better in their private affairs. Life has no sequel … well, at least none that we all agree upon.
That’s mostly the stomping ground staked out by 1951’s Unknown World, an independent movie directed by Terry O. Morse and conceived by Millard Kaufman and Dalton Trumbo. Its lean-and-mean nine person cast included such names as Bruce Kellogg, Otto Waldis, Jim Bannon, Tom Handley, Marilyn Nash, and others. Together, the cast and crew explored the ‘what if’ idea of where man might be able to go if (and when) he destroyed the surface of Earth in the inevitable nuclear exchange. Their solution? Why, “Go deep, young man!” These brave movie scientists postulated that there was a whole new world lying in the space between the crust and the core; and they set out on a mission to find this ultimate bomb shelter before it was all too late.
You see, mankind had dabbled with the unthinkable – namely, atomic power – and now we were paying the consequences. Alien civilizations had seen our dalliance with such dangerous science, and now they were heading here from far, all with aspirations at taking over our little blue planet. Scientists – often depicted as both heroes and occasionally villains in such pictures – were front-and-center when the action was taking place; and these surprisingly morally-minded men would only do what they thought best for mankind, even if their decisions flew in the face of logic. But because the United States had the bomb, that meant every nation around the world could also have one; and such a development clearly put us well down the path toward planetary annihilation.
As one can imagine, a great many of these ideas inspired storytellers to spin tales across a variety of perspectives; and yet very few of them actually investigated possible solutions to avoid our extermination. Oh, a good number of these pictures tacked on a scene near their end credits, warning those folks watching that mankind had better change their ways or else something dark could transpire. But because these were still movies after all the producers felt compelled to entertain far more than they could educate, instead using SciFi and Fantasy more as the inspiration to make money off our fears while only mildly cautioning patrons to do better in their private affairs. Life has no sequel … well, at least none that we all agree upon.
That’s mostly the stomping ground staked out by 1951’s Unknown World, an independent movie directed by Terry O. Morse and conceived by Millard Kaufman and Dalton Trumbo. Its lean-and-mean nine person cast included such names as Bruce Kellogg, Otto Waldis, Jim Bannon, Tom Handley, Marilyn Nash, and others. Together, the cast and crew explored the ‘what if’ idea of where man might be able to go if (and when) he destroyed the surface of Earth in the inevitable nuclear exchange. Their solution? Why, “Go deep, young man!” These brave movie scientists postulated that there was a whole new world lying in the space between the crust and the core; and they set out on a mission to find this ultimate bomb shelter before it was all too late.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Scientists use a gigantic drilling machine for an expedition to the center of the earth.”
Once again, I find it necessary to remind readers of the reason why I gravitate toward older flicks. Simply put, older films generally put more thought into their foundational ideas and less into things like character development, action sequences, and even cinematography. Especially when it comes to Science Fiction and Fantasy entries, these storytellers were practically inventing techniques which allowed them to even explore such concepts; and – what can I say? – I like witnessing not only how they interpreted them visually as well as critically examining the good, bad, and ugly of that whole process and the outcome. Sometimes, you find a winner. Sometimes … well, you find not so much.
Unknown World is one of those oddities from the latter category. Unlike many of its 1950’s counterparts, World never quite had anything going for it beyond its central conceit, that being the premise of there being some provincial ‘Shangri-La’ waiting for mankind’s inevitable occupancy deep beneath the surface. Though the whole ‘Hollow Earth’ theory has been disproven on multiple occasions, it still persisted with authors and mythmakers to the point wherein several fairly prominent names in publishing threw even more light on it, so its evolution to the talkies – the movies – was equally unavoidable. Special effects pioneers Irving A. Block and Jack Rabin accomplished what they could in the constraints of the day (and budget); yet even those results weren’t much different than those achieved a decade and one-half earlier with the theatrical serials of Flash Gordon and Buck Rogers.
Scientist and doomsayer Dr. Jeremiah Morley (played by Victor Kilian) believes the advent of the Atomic Age has put mankind on the road to extinction. In order to promote ideas to avoid such a catastrophe, he founds the Society To Save Civilization and enlists a hand-picked group of specialists he believes can seek out and find the world beneath our world that can serve as a safe haven for all once bombs begin dropping. When Morley realizes he cannot get the financial backing necessary to construct the Cyclotram – the precursor to the industrial subterrene – he’s lost all hope … and that’s when Wright Thompson (Bruce Kellogg) – the millionaire playboy/son of a media mogul – shows up ready, willing, and able to singlehandedly finance the mission beneath the ground.
His only requirement: he gets to tag along.
From the film’s IMDB.com page citation:
“Scientists use a gigantic drilling machine for an expedition to the center of the earth.”
Once again, I find it necessary to remind readers of the reason why I gravitate toward older flicks. Simply put, older films generally put more thought into their foundational ideas and less into things like character development, action sequences, and even cinematography. Especially when it comes to Science Fiction and Fantasy entries, these storytellers were practically inventing techniques which allowed them to even explore such concepts; and – what can I say? – I like witnessing not only how they interpreted them visually as well as critically examining the good, bad, and ugly of that whole process and the outcome. Sometimes, you find a winner. Sometimes … well, you find not so much.
Unknown World is one of those oddities from the latter category. Unlike many of its 1950’s counterparts, World never quite had anything going for it beyond its central conceit, that being the premise of there being some provincial ‘Shangri-La’ waiting for mankind’s inevitable occupancy deep beneath the surface. Though the whole ‘Hollow Earth’ theory has been disproven on multiple occasions, it still persisted with authors and mythmakers to the point wherein several fairly prominent names in publishing threw even more light on it, so its evolution to the talkies – the movies – was equally unavoidable. Special effects pioneers Irving A. Block and Jack Rabin accomplished what they could in the constraints of the day (and budget); yet even those results weren’t much different than those achieved a decade and one-half earlier with the theatrical serials of Flash Gordon and Buck Rogers.
Scientist and doomsayer Dr. Jeremiah Morley (played by Victor Kilian) believes the advent of the Atomic Age has put mankind on the road to extinction. In order to promote ideas to avoid such a catastrophe, he founds the Society To Save Civilization and enlists a hand-picked group of specialists he believes can seek out and find the world beneath our world that can serve as a safe haven for all once bombs begin dropping. When Morley realizes he cannot get the financial backing necessary to construct the Cyclotram – the precursor to the industrial subterrene – he’s lost all hope … and that’s when Wright Thompson (Bruce Kellogg) – the millionaire playboy/son of a media mogul – shows up ready, willing, and able to singlehandedly finance the mission beneath the ground.
His only requirement: he gets to tag along.
Whereas like-minded pictures of the 1950’s invested serious time and effort into the construction of their respective vessels (and benefited greatly by allowing audiences to get to know the concepts and the people dealing with them), World completely ignores that technique, mostly because this independent production likely had no financial wherewithal to show it. Instead, audiences are treated to a simple dissolve, and voila! The Cyclotram is ready to rumble into the catacombs below! The craft is delivered by sea to an island wherein a dead volcano will serve as the crew’s jumping off point; and the adventure begins unceremoniously.
It’s this same dry artistry that sadly propels the rest of the film from Point A to Point B to Point C and so forth. Of course, there’s a bit of drama beneath our world – noxious gases kill a few unfortunate souls, and their water supply gets contaminated as a result, a development that causes a few to suspect their mission in expendable – but such is the case with any good flick. The script even toys here and there with a budding romantic affair between Thompson and the crew’s ‘ardent feminist’ Dr. Joan Lindsay (Marilyn Nash) in the same way many 50’s melodramas found love more out of convenience than they did authentic relationship-building. Eventually, the surviving members of the crew do stumble into a Hollow Earth, but their elation is cut short when utopia turns out to be an even greater curse than the threat of nuclear annihilation they believed they were leaving behind.
Whereas others might find fault with World’s inability to really establish any narrative momentum, I’d argue that it more likely achieves what producers set out to do: namely, state a fictional premise and then see it through to fruition. The film shares of great deal of DNA with like-minded fare which never intended to be particularly memorable, instead serving that noble goal of making the audiences pack up their troubles for the duration of the running time – here a trim 75 minutes – and enjoy. While I’ll concede that it offers up no signature scenery other than one more clever use of the oft-photographed Carlsbad Caverns – filling in for an otherwise unavailable Hollow Earth – it’s perfect adequate (but nothing more) as a diversion that only scratches the surface (snicker snicker) of what was possible with more time, effort, money, and talent.
Thankfully, Hollywood’s fascination with the possibility of life underground survived; and it continues even to this day. There were several that followed in the 1960’s and 1970’s which were quite good – with better effects, of course – and the concept pops its head out of its hole to show that some ideas never die. Even the most recent pictures in the Godzilla and Kong universe has flirted with it, so – if nothing else – credit is owed to World for being there at the front of the line when no one else believed such a thing was possible.
It’s this same dry artistry that sadly propels the rest of the film from Point A to Point B to Point C and so forth. Of course, there’s a bit of drama beneath our world – noxious gases kill a few unfortunate souls, and their water supply gets contaminated as a result, a development that causes a few to suspect their mission in expendable – but such is the case with any good flick. The script even toys here and there with a budding romantic affair between Thompson and the crew’s ‘ardent feminist’ Dr. Joan Lindsay (Marilyn Nash) in the same way many 50’s melodramas found love more out of convenience than they did authentic relationship-building. Eventually, the surviving members of the crew do stumble into a Hollow Earth, but their elation is cut short when utopia turns out to be an even greater curse than the threat of nuclear annihilation they believed they were leaving behind.
Whereas others might find fault with World’s inability to really establish any narrative momentum, I’d argue that it more likely achieves what producers set out to do: namely, state a fictional premise and then see it through to fruition. The film shares of great deal of DNA with like-minded fare which never intended to be particularly memorable, instead serving that noble goal of making the audiences pack up their troubles for the duration of the running time – here a trim 75 minutes – and enjoy. While I’ll concede that it offers up no signature scenery other than one more clever use of the oft-photographed Carlsbad Caverns – filling in for an otherwise unavailable Hollow Earth – it’s perfect adequate (but nothing more) as a diversion that only scratches the surface (snicker snicker) of what was possible with more time, effort, money, and talent.
Thankfully, Hollywood’s fascination with the possibility of life underground survived; and it continues even to this day. There were several that followed in the 1960’s and 1970’s which were quite good – with better effects, of course – and the concept pops its head out of its hole to show that some ideas never die. Even the most recent pictures in the Godzilla and Kong universe has flirted with it, so – if nothing else – credit is owed to World for being there at the front of the line when no one else believed such a thing was possible.
Unknown World (1951) was produced by Lippert Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Severin Films. As for the technical specifications? While I’m no trained video expert, this 4K scan from the protection internegative looks reasonable good: there’s a great amount of grain in several sequences which is likely owed to flaws of the source material, but it’s still a solid experience with respectable sights and sounds. Lastly, if you’re looking for special features? Film writer Stephen R. Bissette provides an interesting commentary track – one that explores the picture’s ideas and themes as much as it does its cast and crew – along with some shorts and a video essay. Frankly, it’s a very good collection – more than I thought probable – so hats off to Severin for a job well done.
Mildly Recommended.
The sad truth is that a film like Unknown World (1951) likely has about as limited appeal today as it had with audiences back in its day. Without a big budget to back its meatiest ideas – i.e. subterranean civilizations, the technological capabilities of exploring a Hollow Earth, etc. – this was only going to find modest success. I have read that the film is regarded as ‘the first of its kind’ to explore life beneath the surface, so it’s easy to agree that purists should give it a spin if for no reason other than the meager historical value. Beyond that, however, World just never does enough with those ideas – and certainly less with its fairly stock team of brainiacs – so its meager appeal still has limits.
In the interests of fairness, I’m pleased to disclose that the fine folks at Severin Films provided me with a complimentary Blu-ray of Unknown World (1951) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Mildly Recommended.
The sad truth is that a film like Unknown World (1951) likely has about as limited appeal today as it had with audiences back in its day. Without a big budget to back its meatiest ideas – i.e. subterranean civilizations, the technological capabilities of exploring a Hollow Earth, etc. – this was only going to find modest success. I have read that the film is regarded as ‘the first of its kind’ to explore life beneath the surface, so it’s easy to agree that purists should give it a spin if for no reason other than the meager historical value. Beyond that, however, World just never does enough with those ideas – and certainly less with its fairly stock team of brainiacs – so its meager appeal still has limits.
In the interests of fairness, I’m pleased to disclose that the fine folks at Severin Films provided me with a complimentary Blu-ray of Unknown World (1951) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
Many, many moons ago, I remember reading an interview with actor Pierce Brosnan regarding his opinion of the broader James Bond franchise.
For those of you who might be much younger than I, Brosnan played the globe-trotting agent on His Majesty’s Secret Service from 1995 through 2002 across four different films. From what I recall, this interview might’ve been toward the end of his tenure in the role; and – as some of the box office receipts were dwindling, a sign that perhaps 007’s future was in doubt – he was asked about what direction in storytelling might buoy the franchise’s spirits and bring audiences back for another adventure. To everyone’s surprise, the actor insisted that the strength of the James Bond character was strong enough that perhaps it was time to give the spy something vastly different … and he suggested that producers might consider a Bond/Horror film.
Now, others have suggested that what Brosnan was doing in making this suggestion was trying to send a veiled message to the franchise overlords that he was done suiting up as the singular do-gooder. Of course, that could be the truth, but – when pressed – he simply explained that the strength of an established character – one who had been around for decades – should provide a bit of wiggle room around which screenwriters could explore something a bit different than what had come before. Though I personally disagree – no one who purchases a ticket to any installment of the Bond franchise expects to show up for anything less than Action, Adventure, and Espionage – I can appreciate his point about giving a known commodity a bit of breathing room to try something a bit dissimilar.
Essentially, that’s a bit of what writer, director, and actor Jason Brooks has done with his latest output, The Death Of Snow White (2025). Clearly, he’s pushing the classic story of love, magic, and mystery closer to the territory originally staked out by the Brothers Grimm; but he imbues the project with what I think might be best described as B-Movie sensibilities. There’s a bit of sorcery. There’s some goofy dialogue. There’s the welcome flash of gratuitous breasts here and there by the ladies in the cast. But because this was intended more for an adult audience, he bypasses making the fabled dwarves of the cute and cuddly variety instead – like James Bond – giving them a license to kill … and kill they do.
Buckle up, peasants. This is not your father’s Snow White. She might emerge pure as snow, but those around her are kicking arse, splitting skulls, and taking names.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
For those of you who might be much younger than I, Brosnan played the globe-trotting agent on His Majesty’s Secret Service from 1995 through 2002 across four different films. From what I recall, this interview might’ve been toward the end of his tenure in the role; and – as some of the box office receipts were dwindling, a sign that perhaps 007’s future was in doubt – he was asked about what direction in storytelling might buoy the franchise’s spirits and bring audiences back for another adventure. To everyone’s surprise, the actor insisted that the strength of the James Bond character was strong enough that perhaps it was time to give the spy something vastly different … and he suggested that producers might consider a Bond/Horror film.
Now, others have suggested that what Brosnan was doing in making this suggestion was trying to send a veiled message to the franchise overlords that he was done suiting up as the singular do-gooder. Of course, that could be the truth, but – when pressed – he simply explained that the strength of an established character – one who had been around for decades – should provide a bit of wiggle room around which screenwriters could explore something a bit different than what had come before. Though I personally disagree – no one who purchases a ticket to any installment of the Bond franchise expects to show up for anything less than Action, Adventure, and Espionage – I can appreciate his point about giving a known commodity a bit of breathing room to try something a bit dissimilar.
Essentially, that’s a bit of what writer, director, and actor Jason Brooks has done with his latest output, The Death Of Snow White (2025). Clearly, he’s pushing the classic story of love, magic, and mystery closer to the territory originally staked out by the Brothers Grimm; but he imbues the project with what I think might be best described as B-Movie sensibilities. There’s a bit of sorcery. There’s some goofy dialogue. There’s the welcome flash of gratuitous breasts here and there by the ladies in the cast. But because this was intended more for an adult audience, he bypasses making the fabled dwarves of the cute and cuddly variety instead – like James Bond – giving them a license to kill … and kill they do.
Buckle up, peasants. This is not your father’s Snow White. She might emerge pure as snow, but those around her are kicking arse, splitting skulls, and taking names.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Pursued by her stepmother for eternal beauty, Snow White flees into a terrifying forest and aligns with seven bloodthirsty dwarves - cold-blooded assassins with a knack for brutal killings. Her spirit is tested in this grim fairy tale.”
Unquestionably, the single greatest advantage that The Death Of Snow White brings to the table is the fact that the Walt Disney’s latest and greatest attempt to corner the live action fairy tale remake market has tanked, deservedly so some might say. On the cusp of that spectacular failure, some moviegoers might be happy to venture into uncharted waters and check out this alternate take on the same source material. They won’t emerge with a song in their heart nor the hankering for retooled Communism that the Mouse House purportedly went all-in for, but they might be vastly more entertained in the process.
On the heels of her parents’ demise, the young princess Snow White (played by Sanae Loutsis) matures in young adulthood under guidance from her parental guardian, the Evil Queen (Chelsea Edmundson). Of course, what Snow doesn’t know is that it was the Queen who was chiefly responsible for their deaths; and now the old crone retains her youth and beauty by engaging in some black arts which allow her to steal the essence of such things from the genetically privileged within her kingdom. Yes, she has her sights set on robbing her adopted daughter’s assets as well, but – for the present – the Queen merely bides her time subsisting on what she can gain from so many unfortunate souls.
Now that Snow’s truly blossomed into womanhood, Queenie dispatches her huntsmen to round up the girl, a development that forces Snow to escape into the Black Forest, that dark place in the kingdom where danger lives. Once there, she’s nearly struck down by these carnivorous tree creatures, only to be rescued by – you guessed it – those seven dwarves. Thankfully, director Brooks stayed true to the original fable and cast authentic little people to fill in these roles – with a single exception, but that’s forgivable – so what eventually grows is a bond between real people – not CGI nightmares – who aren’t afraid to stand up against anything the Forest throws at them. Given that they’ve been exiled here by the Queen long ago, they’ve grown accustomed to spilling blood to survive; and they spill plenty. Buckets of it, in fact. Just the way B-Movies do.
Still, Death plays out faithfully to the original legend. Watchers know full well that Snow is destined to bite the poisoned apple (she does, but with a bit of grindhouse-inspired help from that wicked witch). They also know she’ll be brought back to life by true love’s kiss, and there’s a bit of special effects to help give that moment just the visual mysticism it needs. But who knew that the Evil Queen and her spunky princess would go toe-to-toe in a big, bloody showdown (of sorts) that helps to reshape the kingdom for the betterment of all mankind? A few lives are lost along the way, and yet Death ends on an immeasurably bittersweet note – a dance in the Forest which tugs at the heartstrings – that likely will mean more to the adults watching than it ever would the young’uns.
None of this is to say that Death is the perfect tale delivered perfectly.
The production never quite rises above the feel of a community theater production that’s been heavily augmented with props and costumes from the local Medieval Times restaurant or maybe even the annual Renaissance Faire, meaning that it’s all far too crisp, clean, and proper to ever look like it was a real period piece. A few of the set pieces were a bit underwhelming, and I honestly think that the Queen’s throne might have been nothing more than a re-dressed 1970’s dental chair. The sound mix improves as the picture goes on, but the opening sequences truly left a bit to be desired. While there are a few special effects that had to be rendered in post, the vast majority of what’s in here is practical in-camera trickery; and it ranges from good to bad probably in just the way one expects from a low-budget effort. Pacing could’ve been improved with a tighter edit, but that could just be a matter of personal taste more than it is an actual criticism.
“Pursued by her stepmother for eternal beauty, Snow White flees into a terrifying forest and aligns with seven bloodthirsty dwarves - cold-blooded assassins with a knack for brutal killings. Her spirit is tested in this grim fairy tale.”
Unquestionably, the single greatest advantage that The Death Of Snow White brings to the table is the fact that the Walt Disney’s latest and greatest attempt to corner the live action fairy tale remake market has tanked, deservedly so some might say. On the cusp of that spectacular failure, some moviegoers might be happy to venture into uncharted waters and check out this alternate take on the same source material. They won’t emerge with a song in their heart nor the hankering for retooled Communism that the Mouse House purportedly went all-in for, but they might be vastly more entertained in the process.
On the heels of her parents’ demise, the young princess Snow White (played by Sanae Loutsis) matures in young adulthood under guidance from her parental guardian, the Evil Queen (Chelsea Edmundson). Of course, what Snow doesn’t know is that it was the Queen who was chiefly responsible for their deaths; and now the old crone retains her youth and beauty by engaging in some black arts which allow her to steal the essence of such things from the genetically privileged within her kingdom. Yes, she has her sights set on robbing her adopted daughter’s assets as well, but – for the present – the Queen merely bides her time subsisting on what she can gain from so many unfortunate souls.
Now that Snow’s truly blossomed into womanhood, Queenie dispatches her huntsmen to round up the girl, a development that forces Snow to escape into the Black Forest, that dark place in the kingdom where danger lives. Once there, she’s nearly struck down by these carnivorous tree creatures, only to be rescued by – you guessed it – those seven dwarves. Thankfully, director Brooks stayed true to the original fable and cast authentic little people to fill in these roles – with a single exception, but that’s forgivable – so what eventually grows is a bond between real people – not CGI nightmares – who aren’t afraid to stand up against anything the Forest throws at them. Given that they’ve been exiled here by the Queen long ago, they’ve grown accustomed to spilling blood to survive; and they spill plenty. Buckets of it, in fact. Just the way B-Movies do.
Still, Death plays out faithfully to the original legend. Watchers know full well that Snow is destined to bite the poisoned apple (she does, but with a bit of grindhouse-inspired help from that wicked witch). They also know she’ll be brought back to life by true love’s kiss, and there’s a bit of special effects to help give that moment just the visual mysticism it needs. But who knew that the Evil Queen and her spunky princess would go toe-to-toe in a big, bloody showdown (of sorts) that helps to reshape the kingdom for the betterment of all mankind? A few lives are lost along the way, and yet Death ends on an immeasurably bittersweet note – a dance in the Forest which tugs at the heartstrings – that likely will mean more to the adults watching than it ever would the young’uns.
None of this is to say that Death is the perfect tale delivered perfectly.
The production never quite rises above the feel of a community theater production that’s been heavily augmented with props and costumes from the local Medieval Times restaurant or maybe even the annual Renaissance Faire, meaning that it’s all far too crisp, clean, and proper to ever look like it was a real period piece. A few of the set pieces were a bit underwhelming, and I honestly think that the Queen’s throne might have been nothing more than a re-dressed 1970’s dental chair. The sound mix improves as the picture goes on, but the opening sequences truly left a bit to be desired. While there are a few special effects that had to be rendered in post, the vast majority of what’s in here is practical in-camera trickery; and it ranges from good to bad probably in just the way one expects from a low-budget effort. Pacing could’ve been improved with a tighter edit, but that could just be a matter of personal taste more than it is an actual criticism.
And as for the screen talent?
Well, I really try to avoid such nitpicking – Loutsis feels as though she was on autopilot much of the time, and the little folk could’ve used a bit more practice in the diction department. Somehow, Snow winds up looking better once she’s been roughed up a bit and doused in blood; and she even looks damn radiant when lying comatose under the spell of that bad apple. But the whole affair is elevated by Edmundson’s time. As the Evil Queen, she chews scenery with the best of them, never overdoing it but clearly relishing the chance to both sit in judgment over her kingdom while perhaps having to much fun soaking in a tub filled with human remains.
“Mirror, mirror,” indeed.
The Death Of Snow White (2025) was produced by STL Productions, Real Fiction Studios, and Newton To Newton Productions. According to a quick search of Google.com, the film presently available in limited theatrical engagements as well as a handful of online streaming options. As for the technical specifications? While I’m no trained video expert, I’ll admit that there’s a great deal of camerawork within Death that’s quite good, even surprisingly good given the fact that this appears to be an independent-style feature. While I could nitpick some of the staging and/or perspectives here and there, there wasn’t anything that failed to strike the right tone of Dark Fantasy, though the production details could’ve used a bit of extra attention. Kudos to the direction and the cinematographer for crafting such a compelling vision. Lastly, if you’re looking for special features? As I viewed this one entirely via streaming, there were no special features to consider.
Recommended.
Now, The Death Of Snow White – not to be confused with any other iteration of the popular children’s fairy tale – is probably not intended for the young-at-heart. Mind you: there isn’t a great deal of graphic violence in here, but I think it’s clear that Brooks and company crafted this one for mature audiences. Its humor doesn’t always work – there’s a pretty solid bit between to babbling misfits that gets overdone in the second half – and yet just enough of the jokes might evoke a smile at minimum. The Evil Queen is particularly fetching, so much so that I was honestly rooting for her secretly to see the error of her ways and somehow emerge unscathed in the big finish. Alas, that wasn’t meant to be, so I – like so many – will have to pledge my faith and loyalty to Snow White if for no other reason than it’s still the right thing to do. But that Queen? My God, that looked like it could’ve been a lot of fun.
In the interest of fairness, I’m pleased to disclose that the fine folks at Real Fiction Studios provided me with complimentary streaming access to The Death Of Snow White (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Well, I really try to avoid such nitpicking – Loutsis feels as though she was on autopilot much of the time, and the little folk could’ve used a bit more practice in the diction department. Somehow, Snow winds up looking better once she’s been roughed up a bit and doused in blood; and she even looks damn radiant when lying comatose under the spell of that bad apple. But the whole affair is elevated by Edmundson’s time. As the Evil Queen, she chews scenery with the best of them, never overdoing it but clearly relishing the chance to both sit in judgment over her kingdom while perhaps having to much fun soaking in a tub filled with human remains.
“Mirror, mirror,” indeed.
The Death Of Snow White (2025) was produced by STL Productions, Real Fiction Studios, and Newton To Newton Productions. According to a quick search of Google.com, the film presently available in limited theatrical engagements as well as a handful of online streaming options. As for the technical specifications? While I’m no trained video expert, I’ll admit that there’s a great deal of camerawork within Death that’s quite good, even surprisingly good given the fact that this appears to be an independent-style feature. While I could nitpick some of the staging and/or perspectives here and there, there wasn’t anything that failed to strike the right tone of Dark Fantasy, though the production details could’ve used a bit of extra attention. Kudos to the direction and the cinematographer for crafting such a compelling vision. Lastly, if you’re looking for special features? As I viewed this one entirely via streaming, there were no special features to consider.
Recommended.
Now, The Death Of Snow White – not to be confused with any other iteration of the popular children’s fairy tale – is probably not intended for the young-at-heart. Mind you: there isn’t a great deal of graphic violence in here, but I think it’s clear that Brooks and company crafted this one for mature audiences. Its humor doesn’t always work – there’s a pretty solid bit between to babbling misfits that gets overdone in the second half – and yet just enough of the jokes might evoke a smile at minimum. The Evil Queen is particularly fetching, so much so that I was honestly rooting for her secretly to see the error of her ways and somehow emerge unscathed in the big finish. Alas, that wasn’t meant to be, so I – like so many – will have to pledge my faith and loyalty to Snow White if for no other reason than it’s still the right thing to do. But that Queen? My God, that looked like it could’ve been a lot of fun.
In the interest of fairness, I’m pleased to disclose that the fine folks at Real Fiction Studios provided me with complimentary streaming access to The Death Of Snow White (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Jason Voorhees is cryogenically frozen at the beginning of the 21st century and is discovered in the 25th century and taken to space. He gets thawed and begins stalking and killing the crew of the spaceship that's transporting him.”
On paper and perhaps in pre-production, Jason X (2001) likely had potential.
You see, it doesn’t take a rocket scientist to see fundamental similarities between, say, the unstoppable killing machine that is Jason Voorhees and Ridley Scott’s Xenomorphs, those otherworldly creatures that figure prominently into the wider Alien film franchise. Both are relentless in their pursuit of blood, and both possess the ability to practically defy death at every turn. Even when one of the hunted on screen believe they’ve turned a corner, lo and behold something develops to the benefit of the hunters, putting them in the unique position to continually rule the day. So, it’s easy to see why when screenwriters Todd Farmer and Victor Miller pitched the scheme to Friday The 13th’s producer Sean S. Cunningham saw the dollar signs in his eyes and ordered them to ‘go for it.’ What could possibly go wrong?
Well … a lesser picture could’ve been made, and sadly that’s what happened.
Any amount of reading into the early production days of Jason X will also inform you that New Line Cinema and Cunningham found themselves kinda/sorta somewhat painted into a corner over the development of this chapter in the continuing bloody saga. As I’ve come to understand, all involved firmly believed that the next time Voorhees would be seen on the screen would have been to take part in the ultimate theatrical showdown: our dreaded antihero had died a grisly death in Jason Goes To Hell: The Final Friday (1993), and that flick’s closing scenes had promised a forthcoming matchup – in the afterlife – between him and Freddy Krueger of A Nightmare On Elm Street’s franchise. Alas, all of those contractual arrangements – along with the perfect script – took longer than anticipated, leaving producers with a quandary: how long can we let sleeping dogs lie when money was ripe for the picking? Into this debate, Cunningham and his cohorts opted to go ahead with Jason X, knowing full well they’d have to sidestep whatever franchise developments were intended to occur between Freddy and Jason, so going boldly into the future seemed like a good idea at the time.
Sigh.
To accomplish this feat, Farmer proposed setting this film a few years into the future at a point wherein Voorhees had been captured and contained in the cutting-edge Camp Crystal Lake Research Facility. Modern science had uncovered the slasher’s biggest secret – he was, basically, imbued with regenerative DNA, which accounts for mankind’s inability to significantly harm him in any way. Naturally, the U.S. military wants a chance to crack that genetic code; but their attempt to transport him to a base for further study goes awry, with Jason getting the upper hand by establishing an early kill count within the feature’s opening moments. However, Dr. Rowan (played by Lexa Doig) manages to outsmart Voorhees by cornering him in a cryogenic chamber. Little does she realize that an unfortunate leak will her have her joining the worst camper ever on their very own Rip Van Winkle trip into the 24th century.
From the film’s IMDB.com page citation:
“Jason Voorhees is cryogenically frozen at the beginning of the 21st century and is discovered in the 25th century and taken to space. He gets thawed and begins stalking and killing the crew of the spaceship that's transporting him.”
On paper and perhaps in pre-production, Jason X (2001) likely had potential.
You see, it doesn’t take a rocket scientist to see fundamental similarities between, say, the unstoppable killing machine that is Jason Voorhees and Ridley Scott’s Xenomorphs, those otherworldly creatures that figure prominently into the wider Alien film franchise. Both are relentless in their pursuit of blood, and both possess the ability to practically defy death at every turn. Even when one of the hunted on screen believe they’ve turned a corner, lo and behold something develops to the benefit of the hunters, putting them in the unique position to continually rule the day. So, it’s easy to see why when screenwriters Todd Farmer and Victor Miller pitched the scheme to Friday The 13th’s producer Sean S. Cunningham saw the dollar signs in his eyes and ordered them to ‘go for it.’ What could possibly go wrong?
Well … a lesser picture could’ve been made, and sadly that’s what happened.
Any amount of reading into the early production days of Jason X will also inform you that New Line Cinema and Cunningham found themselves kinda/sorta somewhat painted into a corner over the development of this chapter in the continuing bloody saga. As I’ve come to understand, all involved firmly believed that the next time Voorhees would be seen on the screen would have been to take part in the ultimate theatrical showdown: our dreaded antihero had died a grisly death in Jason Goes To Hell: The Final Friday (1993), and that flick’s closing scenes had promised a forthcoming matchup – in the afterlife – between him and Freddy Krueger of A Nightmare On Elm Street’s franchise. Alas, all of those contractual arrangements – along with the perfect script – took longer than anticipated, leaving producers with a quandary: how long can we let sleeping dogs lie when money was ripe for the picking? Into this debate, Cunningham and his cohorts opted to go ahead with Jason X, knowing full well they’d have to sidestep whatever franchise developments were intended to occur between Freddy and Jason, so going boldly into the future seemed like a good idea at the time.
Sigh.
To accomplish this feat, Farmer proposed setting this film a few years into the future at a point wherein Voorhees had been captured and contained in the cutting-edge Camp Crystal Lake Research Facility. Modern science had uncovered the slasher’s biggest secret – he was, basically, imbued with regenerative DNA, which accounts for mankind’s inability to significantly harm him in any way. Naturally, the U.S. military wants a chance to crack that genetic code; but their attempt to transport him to a base for further study goes awry, with Jason getting the upper hand by establishing an early kill count within the feature’s opening moments. However, Dr. Rowan (played by Lexa Doig) manages to outsmart Voorhees by cornering him in a cryogenic chamber. Little does she realize that an unfortunate leak will her have her joining the worst camper ever on their very own Rip Van Winkle trip into the 24th century.
Much like Star Trek went boldly into its ‘next generation,’ Friday The 13th wastes no time in reanimating Jason for the purpose of exercising his bloody Prime Directive. Pairing up his unquenchable blood lust with Tomorrowland’s science never quite awards him the chance to explore strange new ways of inflicting bodily harm – at least, not as much as a more creative script could have – and the killings are far too routine in the face of our obvious technological advancements. There is one fabulous demise which involves Jason freezing a woman’s face in liquid nitrogen and then smashing it into millions of pieces that is quite inspired; but the rest of the film lacks any departure significant enough from what has come before to truly be all that interesting.
Even worse, nowhere in sight are any men, women, children, or aliens who can effectively stand toe-to-toe with Voorhees to any lasting degree. The short parade of possible victims is about as bland as they can be, with the sole holdout being an Artificial Intelligence answering to the name of Kay-Em 14 who actually grows a bit more aggressive once her sexual subroutines serve up a logical epiphany which has her hungry for violence. It’s a clever textual parallel between her and Jason – longtime fans know all-too-well what effect the premarital couplings of others has on the seminal Voorhees, so it is clever to see much of the same desire to extract punishment emerge from a synthetic being – but it winds up hollow once the Crystal Lake renegade gets a cybernetic upgrade all of his own in the last reel.
While the picture ends on a saving grace – producers have found a way to position their signature assassin in the future where a whole new generation of violence could’ve been explored – Jason X really served as little more than screen fodder. It filled the time between the last installment and then-still-forthcoming 2003’s Freddy Vs Jason in order to keep the audience on the edge of their seat; and nothing more. Though I’ve read that X has kinda/sorta been forgiven over the years since with some suggesting it even has a cult following, I personally find it far too milquetoast an adventure on almost every level. What few bright spots it musters gets snuffed out deservedly in the vacuum of space, much like the sensuous holographic campers Jason beats the stuffing out of before going boldly where no man had gone before.
Jason X (2001) was produced by New Line Cinema, Crystal Lake Entertainment, Friday X Productions, and Sean S. Cunningham Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still attest that the sights and sounds here look very good: there are some obviously dated special effects sequence that may’ve been pretty standard quality for the era yet don’t hold up as well a few decades later. Lastly, if you’re looking for special features? Arrow doesn’t disappoint, shelling out three commentary tracks and a bevy of interviews, shorts, and whatnot. In order to be precise, I’m doing the copy-and-paste from the company’s press release original posted to Blu-ray.com:
Even worse, nowhere in sight are any men, women, children, or aliens who can effectively stand toe-to-toe with Voorhees to any lasting degree. The short parade of possible victims is about as bland as they can be, with the sole holdout being an Artificial Intelligence answering to the name of Kay-Em 14 who actually grows a bit more aggressive once her sexual subroutines serve up a logical epiphany which has her hungry for violence. It’s a clever textual parallel between her and Jason – longtime fans know all-too-well what effect the premarital couplings of others has on the seminal Voorhees, so it is clever to see much of the same desire to extract punishment emerge from a synthetic being – but it winds up hollow once the Crystal Lake renegade gets a cybernetic upgrade all of his own in the last reel.
While the picture ends on a saving grace – producers have found a way to position their signature assassin in the future where a whole new generation of violence could’ve been explored – Jason X really served as little more than screen fodder. It filled the time between the last installment and then-still-forthcoming 2003’s Freddy Vs Jason in order to keep the audience on the edge of their seat; and nothing more. Though I’ve read that X has kinda/sorta been forgiven over the years since with some suggesting it even has a cult following, I personally find it far too milquetoast an adventure on almost every level. What few bright spots it musters gets snuffed out deservedly in the vacuum of space, much like the sensuous holographic campers Jason beats the stuffing out of before going boldly where no man had gone before.
Jason X (2001) was produced by New Line Cinema, Crystal Lake Entertainment, Friday X Productions, and Sean S. Cunningham Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still attest that the sights and sounds here look very good: there are some obviously dated special effects sequence that may’ve been pretty standard quality for the era yet don’t hold up as well a few decades later. Lastly, if you’re looking for special features? Arrow doesn’t disappoint, shelling out three commentary tracks and a bevy of interviews, shorts, and whatnot. In order to be precise, I’m doing the copy-and-paste from the company’s press release original posted to Blu-ray.com:
Special Features and Techncial Specs:
Again, as I’m only provided an industry copy of the disc I cannot speak to the efficacy of any physical supplementals – i.e. booklets, artwork, etc. In those regards, I can only provide the customary advice of “buyer beware.”
Alas … only Mildly Recommended.
Although Jason X (2001) never quite rises to the challenge of exploring its few good ideas (how was Jason ultimately captured and incarcerated, how did scientists crack the killer’s deepest and darkest genetic sequences, what did these dastardly experts hope to accomplish with such evil DNA, etc.), it remains the kind of feature which can be watched and mildly appreciated with one’s brain entirely on pause. One fabulous kill doesn’t make up for the fact that the rest of the picture is far too tame and far too predictable to authentically be measured alongside so many other impressive chapters in the franchise. Even as an oddity, there’s just so little texture to this one that I can’t help but wonder if the cast and crew would rather see it lost in space than resurrected for another attempt at building a legacy on home video.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Jason X (2001) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- DOLBY VISION/HDR PRESENTATION OF THE FILM
- Original lossless stereo and DTS-HD 5.1 surround audio options
- Optional English subtitles for the deaf and hard of hearing
- Introduction to the film by actor Kane Hodder
- Brand new audio commentary with film historians Michael Felsher and Steve "Uncle Creepy" Barton
- Archival audio commentary with writer Todd Farmer and author Peter Bracke
- Archival audio commentary with director Jim Isaac, writer Todd Farmer and producer Noel Cunningham
- Scoring the Stars, a brand-new interview with composer Harry Manfredini
- Outta Space: The Making of Jason X, an archival documentary on the making of the film featuring interviews with producers Noel Cunningham and Sean S. Cunningham, actor Kane Hodder and writer Todd Farmer
- In Space No One Can Hear You Scream, an archival interview with writer Todd Farmer
- Kristi Is a Headbanger, an archival interview with actor Kristi Angus
- Jason Rebooted, Sean S. Cunningham on Jason Goes to Hell and Jason X
- The Many Lives of Jason Voorhees, an archival documentary on the history of the character
- By Any Means Necessary: The Making of Jason X, archival making-of documentary
- Cast and crew interviews
- Behind-the-scenes footage
- Electronic Press Kit
- Theatrical trailers and TV spots
- Stills, behind-the-scenes and poster galleries
- 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 Matt Donato and JA Kerswell
Again, as I’m only provided an industry copy of the disc I cannot speak to the efficacy of any physical supplementals – i.e. booklets, artwork, etc. In those regards, I can only provide the customary advice of “buyer beware.”
Alas … only Mildly Recommended.
Although Jason X (2001) never quite rises to the challenge of exploring its few good ideas (how was Jason ultimately captured and incarcerated, how did scientists crack the killer’s deepest and darkest genetic sequences, what did these dastardly experts hope to accomplish with such evil DNA, etc.), it remains the kind of feature which can be watched and mildly appreciated with one’s brain entirely on pause. One fabulous kill doesn’t make up for the fact that the rest of the picture is far too tame and far too predictable to authentically be measured alongside so many other impressive chapters in the franchise. Even as an oddity, there’s just so little texture to this one that I can’t help but wonder if the cast and crew would rather see it lost in space than resurrected for another attempt at building a legacy on home video.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Jason X (2001) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2015 (in the U.S.), the good people of Winston-Salem, North Carolina were treated to the big screen premiere of Levon. Written and directed for the screen by Joey Martin, the SciFi/Drama starred Stephen Howard, Taylor Parrish, Amber Dawn Fox, and others.
According to our friends at IMDB.com, here's the plot summary:
"Ben is trapped in his own life. A wasted opportunity has landed him taking the same commute to the same unfulfilled job for the past 3 years. Attempting to revive his former lifestyle has proved to be just as unsatisfying. But when Ben's weekend plans get ruined, a mysterious being interrupts his night in what could be a chain breaking experience. For the both of them."
-- EZ
On this day in 2015 (in the U.S.), the good people of Winston-Salem, North Carolina were treated to the big screen premiere of Levon. Written and directed for the screen by Joey Martin, the SciFi/Drama starred Stephen Howard, Taylor Parrish, Amber Dawn Fox, and others.
According to our friends at IMDB.com, here's the plot summary:
"Ben is trapped in his own life. A wasted opportunity has landed him taking the same commute to the same unfulfilled job for the past 3 years. Attempting to revive his former lifestyle has proved to be just as unsatisfying. But when Ben's weekend plans get ruined, a mysterious being interrupts his night in what could be a chain breaking experience. For the both of them."
-- EZ
- Published on
From time to time, it’s important to remind viewers of a franchise’s roots.
1980’s Friday The 13th came along at a time when Horror – as a genre – was shifting away from being the province of exclusive territories, and these villains began performing some of their ghastly deeds on what might be called “regular folks.” In the past, characters had to be a scientist or a researcher or a specialist of some arcane mechanics in order to be drawn into circumstances wherein they might become a victim: in this new era, anyone – me, you, your brother, your sister, your uncle, your aunt, your grandfather, etc. – could easily find themselves trapped by a homicidal maniac with – literally – an axe to grind. You no longer had to be a resident of the big city: now, serial killers, carnivorous clowns, and blood-thirsty cannibals could be lurking just around the corner, waiting for you to stumble on their path. Terror came home – far from Transylvania or the dark jungles of the Amazon or even some Egyptian tombs – and everyday people were at risk.
It was a ground-breaking shift, one that Hollywood seismometers probably never anticipated or planned. While there are several reasons why, culturally, this change occurred, the bottom line will always be that transferring these thrills, chills, and spills from those places far, far away and into the geography of accessibility for ‘average Joes’ meant that the vicarious appeal of truly being scared silly would mean wonderful returns – if done properly – at the box office. Now that the mummy was out of Africa and in your backyard, the exhilaration of running for your life was all the more real; and audiences responded in kind, shelling out their shekels for the chance to scream in delight at the haunts unfolding before their very eyes … on the silver screen, of course.
Looking back, film historians credit 1974’s The Texas Chain Saw Massacre as the most impactful catalyst for this evolution; but I’ve always argued that it wasn’t until 1980’s Friday that the true mainstream both found and rewarded creators Victor Miller and Ron Kurz alongside director Sean S. Cunningham for their hard work in introducing the wider saga of Jason Voorhees into our collective consciousness. Though the truth remains that the seminal, lumbering, machete-wielding, hockey-mask-wearing butcher of Camp Crystal Lake was little seen in the first chapter, he inevitably showed up – and kept returning – for what would become an impressive run of installments, some bloodier (and occasionally less nonsensical) than others. Blood was suddenly big money, and Jason was happily cashing the paychecks.
Still, I’ve always insisted that the longer a franchise lasts the more distant it strays from that original formula – the recipe that made it successful in the first place – in order to achieve a measure of freshness that’ll appease both longtime fans as well as newbies who stumble into the multiplexes. Some of these changes – while commercially understandable – risk violating what came before in the property’s mythology, a development which risks alienating followers who come in with full knowledge of what to expect. And – in this respect – there’s probably been no finer example than the Friday The 13th film series: what began under modest admiration retrogressed into a near-parody of itself, with 1993’s Jason Goes To Hell: The Final Friday truly jumping the shark unlike anything that had been done in all of filmdom before.
1980’s Friday The 13th came along at a time when Horror – as a genre – was shifting away from being the province of exclusive territories, and these villains began performing some of their ghastly deeds on what might be called “regular folks.” In the past, characters had to be a scientist or a researcher or a specialist of some arcane mechanics in order to be drawn into circumstances wherein they might become a victim: in this new era, anyone – me, you, your brother, your sister, your uncle, your aunt, your grandfather, etc. – could easily find themselves trapped by a homicidal maniac with – literally – an axe to grind. You no longer had to be a resident of the big city: now, serial killers, carnivorous clowns, and blood-thirsty cannibals could be lurking just around the corner, waiting for you to stumble on their path. Terror came home – far from Transylvania or the dark jungles of the Amazon or even some Egyptian tombs – and everyday people were at risk.
It was a ground-breaking shift, one that Hollywood seismometers probably never anticipated or planned. While there are several reasons why, culturally, this change occurred, the bottom line will always be that transferring these thrills, chills, and spills from those places far, far away and into the geography of accessibility for ‘average Joes’ meant that the vicarious appeal of truly being scared silly would mean wonderful returns – if done properly – at the box office. Now that the mummy was out of Africa and in your backyard, the exhilaration of running for your life was all the more real; and audiences responded in kind, shelling out their shekels for the chance to scream in delight at the haunts unfolding before their very eyes … on the silver screen, of course.
Looking back, film historians credit 1974’s The Texas Chain Saw Massacre as the most impactful catalyst for this evolution; but I’ve always argued that it wasn’t until 1980’s Friday that the true mainstream both found and rewarded creators Victor Miller and Ron Kurz alongside director Sean S. Cunningham for their hard work in introducing the wider saga of Jason Voorhees into our collective consciousness. Though the truth remains that the seminal, lumbering, machete-wielding, hockey-mask-wearing butcher of Camp Crystal Lake was little seen in the first chapter, he inevitably showed up – and kept returning – for what would become an impressive run of installments, some bloodier (and occasionally less nonsensical) than others. Blood was suddenly big money, and Jason was happily cashing the paychecks.
Still, I’ve always insisted that the longer a franchise lasts the more distant it strays from that original formula – the recipe that made it successful in the first place – in order to achieve a measure of freshness that’ll appease both longtime fans as well as newbies who stumble into the multiplexes. Some of these changes – while commercially understandable – risk violating what came before in the property’s mythology, a development which risks alienating followers who come in with full knowledge of what to expect. And – in this respect – there’s probably been no finer example than the Friday The 13th film series: what began under modest admiration retrogressed into a near-parody of itself, with 1993’s Jason Goes To Hell: The Final Friday truly jumping the shark unlike anything that had been done in all of filmdom before.
Yes, it was a truly spectacular derailment, so much so that as a franchise it’s never quite recovered since.
And here you thought Jason could survive anything!
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“The secret of Jason's evil is revealed. It is up to the last remaining descendant of the Voorhees family to stop Jason before he becomes immortal and unstoppable. This is the final (?) battle to end Jason's reign of terror forever.”
The upside to any sequel in a continuing franchise should always be to give audiences something that they haven’t seen before while also toeing the line with respect to established lore. Anything less should never be tolerated because that insults the integrity of both the experience itself as well as remaining a fan of any intellectual property. While there could be some commercial appeal in stretching boundaries for the sake of doing something different, no one likes showboating just for the purposes of showboating: follow the rules minimally, and this guarantees at the very least a good time will be had by all.
Well …
I’m not entirely sure what producer Sean S. Cunningham thought his team could accomplish with this particular chapter in the continuing saga. Director Adam Marcus’ vision – he’s also credited with scripting the affair alongside Jay Huguely and Dean Lorey – feels more akin to either a low-budget, pay-cable production or even a lukewarm ‘Movie of the Week’ for primetime television. Visually, it’s far too bright and cheery, with even its nighttime scenes having so much light that little is left to the imagination. Whereas a good amount of the action in previous Jason adventures took place in the dead of night (or dark corridors, at least), this one is all sunshine and roses. IMDB.com cites this film as his debut picture, and I’m left wondering if he needed to do a bit of additional research before being handed the reins to such a unique commodity.
And here you thought Jason could survive anything!
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“The secret of Jason's evil is revealed. It is up to the last remaining descendant of the Voorhees family to stop Jason before he becomes immortal and unstoppable. This is the final (?) battle to end Jason's reign of terror forever.”
The upside to any sequel in a continuing franchise should always be to give audiences something that they haven’t seen before while also toeing the line with respect to established lore. Anything less should never be tolerated because that insults the integrity of both the experience itself as well as remaining a fan of any intellectual property. While there could be some commercial appeal in stretching boundaries for the sake of doing something different, no one likes showboating just for the purposes of showboating: follow the rules minimally, and this guarantees at the very least a good time will be had by all.
Well …
I’m not entirely sure what producer Sean S. Cunningham thought his team could accomplish with this particular chapter in the continuing saga. Director Adam Marcus’ vision – he’s also credited with scripting the affair alongside Jay Huguely and Dean Lorey – feels more akin to either a low-budget, pay-cable production or even a lukewarm ‘Movie of the Week’ for primetime television. Visually, it’s far too bright and cheery, with even its nighttime scenes having so much light that little is left to the imagination. Whereas a good amount of the action in previous Jason adventures took place in the dead of night (or dark corridors, at least), this one is all sunshine and roses. IMDB.com cites this film as his debut picture, and I’m left wondering if he needed to do a bit of additional research before being handed the reins to such a unique commodity.
Now, this isn’t to suggest in any way that Marcus was a poor choice. Sometimes, it takes more than a bad cook to ruin a recipe. There’s an awful lot wrong with Jason Goes To Hell that stretches beyond these unimaginative graphics. The script as constructed removes Voorhees from nearly all of the action – he’s bombed to smithereens in the palatable opening sequence only to be kinda/sorta resurrected almost forthwith as a shape-shifting creature not unlike the sluglike alien intelligence from 1987’s underrated The Hidden. Just as that critter body-hopped from one human host to the next, so does the Jason-thing, allowing the vicious presence to continue hacking up anyone and everyone he/she/it comes into contact with across these 87 minutes. While in human form, Jason still had a measure of vulnerability; but, in here, the sky’s the limit … for the most part.
If turning our signature baddie from a physical thing into something a bit more spectral wasn’t enough of a significant departure, then buckle up for what came next: now audiences learn that it’s only a descendant of the rather limited Voorhees bloodline who possesses the supernatural charm to off our murderer once and for all. When and where this mysticism came into being seems to be tied directly to Creighton Duke (played by Steven Williams), a mysterious bounty hunter who never explains anything of where he learned it or why it works so – once more – fans new and old have no choice but to like it or lump it. Clearly, such a secret could’ve shortened the franchise had its many participants (and victims!) known the rules earlier; and that might’ve saved all of us from having to take part in such a forgettable picture so late in Jason’s life.
However, that’s the crux around which Hell never quite works: since Jason really isn’t in it, how could anyone believe that audiences would embrace it?
Like it or not – and dismissing what that fact alone says about us as a people and our flawed hero-worshipping – Voorhees is the property’s antihero. Up until a point in his endless campaigns, he obeyed a method to his madness, killing only those who trespassed on his property or disrespected what he saw as a personal territorial shrine to both his and his mother’s lives. While a good degree of these deaths can be linked directly to those engaging in disreputable behavior (i.e. teenage counselors ignoring campers, instead engaging in bouts of premarital sex, etc.), he rarely killed for killing’s sake. That isn’t quite the case in Hell as this Jason/UnJason winds up trespassing far more here than those who trespass against him, so the story doesn’t even adhere to the franchise’s slimmest requirements. But because it just isn’t Jason doing most of the bloody business, why should we even take an interest?
Though some might suggest I’m really nitpicking here, there truly isn’t even any portrait of Hell, certainly not the one alluded to in the title alone. Jason’s demise at the opening is little more than a plot device which allows others to carry on in his name – which they do – but he insisted dispatched with any definitiveness until the closing scenes … and, even then, we’re not taken to the ultimate Down Under in any way, shape, or form. How are we to rest assured that he’s finally been put out to pasture? Well, the closing scene serves to set up what was originally intended to be the celebrated showdown between Jason and Elm Street’s celebrated Freddy Krueger, a picture that wound up being sidetracked so long that Jason X (2001) actually got fast tracked in the interim. Freddy Vs. Jason followed two years after.
If turning our signature baddie from a physical thing into something a bit more spectral wasn’t enough of a significant departure, then buckle up for what came next: now audiences learn that it’s only a descendant of the rather limited Voorhees bloodline who possesses the supernatural charm to off our murderer once and for all. When and where this mysticism came into being seems to be tied directly to Creighton Duke (played by Steven Williams), a mysterious bounty hunter who never explains anything of where he learned it or why it works so – once more – fans new and old have no choice but to like it or lump it. Clearly, such a secret could’ve shortened the franchise had its many participants (and victims!) known the rules earlier; and that might’ve saved all of us from having to take part in such a forgettable picture so late in Jason’s life.
However, that’s the crux around which Hell never quite works: since Jason really isn’t in it, how could anyone believe that audiences would embrace it?
Like it or not – and dismissing what that fact alone says about us as a people and our flawed hero-worshipping – Voorhees is the property’s antihero. Up until a point in his endless campaigns, he obeyed a method to his madness, killing only those who trespassed on his property or disrespected what he saw as a personal territorial shrine to both his and his mother’s lives. While a good degree of these deaths can be linked directly to those engaging in disreputable behavior (i.e. teenage counselors ignoring campers, instead engaging in bouts of premarital sex, etc.), he rarely killed for killing’s sake. That isn’t quite the case in Hell as this Jason/UnJason winds up trespassing far more here than those who trespass against him, so the story doesn’t even adhere to the franchise’s slimmest requirements. But because it just isn’t Jason doing most of the bloody business, why should we even take an interest?
Though some might suggest I’m really nitpicking here, there truly isn’t even any portrait of Hell, certainly not the one alluded to in the title alone. Jason’s demise at the opening is little more than a plot device which allows others to carry on in his name – which they do – but he insisted dispatched with any definitiveness until the closing scenes … and, even then, we’re not taken to the ultimate Down Under in any way, shape, or form. How are we to rest assured that he’s finally been put out to pasture? Well, the closing scene serves to set up what was originally intended to be the celebrated showdown between Jason and Elm Street’s celebrated Freddy Krueger, a picture that wound up being sidetracked so long that Jason X (2001) actually got fast tracked in the interim. Freddy Vs. Jason followed two years after.
Jason Goes To Hell: The Final Friday (1993) was produced by New Line Cinema and Sean S. Cunningham Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still attest that the provided sights and sounds are exceptional from start to finish. Lastly, if you’re looking for special features? This is Arrow Films, my friends, and their releases never disappoint. In order to be thorough, I’m doing the copy-and-paste from their press release previously published on Blu-ray.com:
Special Features and Technical Specs:
DISC ONE - THEATRICAL CUT
DISC TWO - UNRATED CUT
Special Features and Technical Specs:
- DOLBY VISION/HDR PRESENTATIONS 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
- Stills, 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
As you can see, it’s a fabulous collection, a great deal of which has been available previously but having it all together under one roof might make this a must-own for purists at the very least. Also, as I was only provided an industry copy, I cannot attest to the efficacy or quality regarding any inserts, artwork, or booklets.
Alas … only Mildly Recommended … and, even though, only as a curiosity.
Though it’s easy to conclude that Jason Goes To Hell: The Final Friday (1993) was a creative misfire, it still deserves a bit of praise for being so spectacularly so. Our hero appears sparingly, the killings are unremarkable, and there’s nothing interesting to otherwise fill that void. Voorhees spends so little time in it – in the hulking and oppressive form with which we know him best – that I think audiences didn’t quite know what to make of this chapter, cutting off the picture’s prospects of being anything more than an oddity, at best. Far too much of the film feels like it was assembled on auto-pilot – maybe even feeling like it was scripted by A.I. if that had been a reality those decades back – and there isn’t an original bone in anyone’s body. Diehard fans might see more in it than I did, so forgive me for wanting something that minimally fit within the franchise’s broader tapestry.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Jason Goes To Hell: The Final Friday (1993) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Alas … only Mildly Recommended … and, even though, only as a curiosity.
Though it’s easy to conclude that Jason Goes To Hell: The Final Friday (1993) was a creative misfire, it still deserves a bit of praise for being so spectacularly so. Our hero appears sparingly, the killings are unremarkable, and there’s nothing interesting to otherwise fill that void. Voorhees spends so little time in it – in the hulking and oppressive form with which we know him best – that I think audiences didn’t quite know what to make of this chapter, cutting off the picture’s prospects of being anything more than an oddity, at best. Far too much of the film feels like it was assembled on auto-pilot – maybe even feeling like it was scripted by A.I. if that had been a reality those decades back – and there isn’t an original bone in anyone’s body. Diehard fans might see more in it than I did, so forgive me for wanting something that minimally fit within the franchise’s broader tapestry.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Jason Goes To Hell: The Final Friday (1993) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1969 (in the U.S.), the good people of Miami, Florida were treated to the exclusive theatrical premiere of Hello Down There. Directed by Jack Arnold and Ricou Browning from a story by Art Arthur, John McGreevey, and Frank Telford, the SciFi/Comedy starred Tony Randall, Janet Leigh, Roddy McDowell, Richard Dreyfuss, and others.
According to our friends at IMDB.com, here's the plot summary:
"Marine scientist Fred Miller designs the world's first underwater home, but when the business magnate funding his work threatens to end the project, Miller volunteers to live in it with his own family to prove it's practical. The underwater clan includes his water-phobic wife and his daughter and son, who are part of a rock and roll band. They bring along the lead singer and drummer. Along the way, they have to contend with a competing engineer who promises to mine the ocean floor for the businessman. A record producer likes their music and books them on TV, leading the kids to try to escape to the surface."
-- EZ
On this day in 1969 (in the U.S.), the good people of Miami, Florida were treated to the exclusive theatrical premiere of Hello Down There. Directed by Jack Arnold and Ricou Browning from a story by Art Arthur, John McGreevey, and Frank Telford, the SciFi/Comedy starred Tony Randall, Janet Leigh, Roddy McDowell, Richard Dreyfuss, and others.
According to our friends at IMDB.com, here's the plot summary:
"Marine scientist Fred Miller designs the world's first underwater home, but when the business magnate funding his work threatens to end the project, Miller volunteers to live in it with his own family to prove it's practical. The underwater clan includes his water-phobic wife and his daughter and son, who are part of a rock and roll band. They bring along the lead singer and drummer. Along the way, they have to contend with a competing engineer who promises to mine the ocean floor for the businessman. A record producer likes their music and books them on TV, leading the kids to try to escape to the surface."
-- EZ
- Published on
Site update
So many movies ... so little time ...
On this day in 1960 (in the U.S.), The Leech Woman -- like a paraside -- attached itself to our collective consciousness with its first theatrical exhibition. Directed by Edward Dein from a story by David Duncan, Ben Pivar, and Francis Rosenwald, the SciFi/Horror starred Coleen Gray, Grant Williams, Gloria Talbott, and others.
According to our friends at IMDB.com, here's the plot summary:
"When a very old African woman offers an ambitious endocrinologist the secret of eternal youth, he decides to take his estranged and no-longer-young-and-beautiful wife along with him on the safari. But then she finds out the true reason for their sudden reconciliation is so that she can serve as his guinea pig. Hell hath no fury like a woman scorned, especially one with a stolen pineal gland tapper. But once you try Nipe, there's no going back."
Editor's Note:
Technically, The Leech Woman's original premiere date is a bit lost to history. Presently, IMDB.com indicates solely that the film premiered in May of 1960; so -- as is my practice -- I use the first day of the cited month as a temporary placeholder, always hoping I'll eventually secure more definitive information.
-- EZ
On this day in 1960 (in the U.S.), The Leech Woman -- like a paraside -- attached itself to our collective consciousness with its first theatrical exhibition. Directed by Edward Dein from a story by David Duncan, Ben Pivar, and Francis Rosenwald, the SciFi/Horror starred Coleen Gray, Grant Williams, Gloria Talbott, and others.
According to our friends at IMDB.com, here's the plot summary:
"When a very old African woman offers an ambitious endocrinologist the secret of eternal youth, he decides to take his estranged and no-longer-young-and-beautiful wife along with him on the safari. But then she finds out the true reason for their sudden reconciliation is so that she can serve as his guinea pig. Hell hath no fury like a woman scorned, especially one with a stolen pineal gland tapper. But once you try Nipe, there's no going back."
Editor's Note:
Technically, The Leech Woman's original premiere date is a bit lost to history. Presently, IMDB.com indicates solely that the film premiered in May of 1960; so -- as is my practice -- I use the first day of the cited month as a temporary placeholder, always hoping I'll eventually secure more definitive information.
-- EZ
- Published on
Site Update
So many movies ... so little time ...
On this day in 1991 (in the U.S.), home audiences were treated to a bit of Biblical/Fantasy with the broadcast television premiere of Child Of Darkness, Child Of Light. Directed by Marina Sargenti from a story by James Patterson and Brian Taggert, the film starred Tony Denison, Brad Davis, Sydney Penny, and others.
According to our friends at IMDB.com, here's the plot summary:
"A Roman Catholic priest is sent to investigate reports of two alleged virgin conceptions. One of the teenage girls is about to give birth to the Christ and the other teenage girl to the Antichrist and he must determine which one is which before Satan's worshipers can stop him."
-- EZ
On this day in 1991 (in the U.S.), home audiences were treated to a bit of Biblical/Fantasy with the broadcast television premiere of Child Of Darkness, Child Of Light. Directed by Marina Sargenti from a story by James Patterson and Brian Taggert, the film starred Tony Denison, Brad Davis, Sydney Penny, and others.
According to our friends at IMDB.com, here's the plot summary:
"A Roman Catholic priest is sent to investigate reports of two alleged virgin conceptions. One of the teenage girls is about to give birth to the Christ and the other teenage girl to the Antichrist and he must determine which one is which before Satan's worshipers can stop him."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1986 (in the Soviet Union), one of the most adapted literary works in history -- The Strange Case Of Dr Jekyll And Mr Hyde -- got itself yet one more adaptation. Written (in part) and directed by Aleksandr Orlov, the Horror/Thriller starred Innokenti Smoktunovsky, Aleksandr Feklistov, Alla Budnitskaya, and others.
According to our friends at IMDB.com, here's the plot summary:
"Dr. Henry Jekyll experiments with scientific means of revealing the hidden, dark side of man and releases a murderer from within himself."
For the record:
To the film's credit, The Strange Case Of Dr Jekyll And Mr Hyde earned a wee bit of extra attention from a screening on the film festival circuit.
Editor's Note:
Technically, The Strange Case Of Dr Jekyll And Mr Hyde's original premiere date is a bit lost to history. Presently, IMDB.com indicates solely that the film premiered in May of 1960; so -- as is my practice -- I use the first day of the cited month as a temporary placeholder, always hoping I'll eventually secure more definitive information.
-- EZ
On this day in 1986 (in the Soviet Union), one of the most adapted literary works in history -- The Strange Case Of Dr Jekyll And Mr Hyde -- got itself yet one more adaptation. Written (in part) and directed by Aleksandr Orlov, the Horror/Thriller starred Innokenti Smoktunovsky, Aleksandr Feklistov, Alla Budnitskaya, and others.
According to our friends at IMDB.com, here's the plot summary:
"Dr. Henry Jekyll experiments with scientific means of revealing the hidden, dark side of man and releases a murderer from within himself."
For the record:
To the film's credit, The Strange Case Of Dr Jekyll And Mr Hyde earned a wee bit of extra attention from a screening on the film festival circuit.
Editor's Note:
Technically, The Strange Case Of Dr Jekyll And Mr Hyde's original premiere date is a bit lost to history. Presently, IMDB.com indicates solely that the film premiered in May of 1960; so -- as is my practice -- I use the first day of the cited month as a temporary placeholder, always hoping I'll eventually secure more definitive information.
-- EZ
- Published on
press release
Universal City, California, April 29, 2025 – JAWS made history in 1975, turning a young Steven Spielberg into a household name and boldly establishing the summer blockbuster spectacle that revolutionized the film industry. Winner of three Academy Awards®, including Best Original Score, JAWS has become a global phenomenon, and half a century later, it still holds a grip on audiences around the world. Universal Pictures Home Entertainment celebrates this cinematic milestone with the JAWS 50TH ANNIVERSARY EDITION, available on June 17, 2025 in 4K Ultra HD, Blu-ray™ and Digital. This Combo Pack features the never-before-seen documentary, JAWS @ 50: THE DEFINITIVE INSIDE STORY, a brand-new look at the making and legacy of the film directed by Laurent Bouzereau and from National Geographic, in partnership with Steven Spielberg’s Amblin Documentaries, Nedland Media, and Wendy Benchley. The disc and digital include over five hours of bonus features with an inside look at the making of the film, deleted scenes, original on-set footage, and much more! JAWS will also be available in an all-new limited edition SteelBook with never-before-seen artwork.
When the seaside community of Amity finds itself under attack by a dangerous great white shark, the town’s chief of police (Roy Scheider), a young marine biologist (Richard Dreyfuss) and a grizzled shark hunter (Robert Shaw) embark on a desperate quest to destroy the beast before it strikes again. Featuring an unforgettable score that evokes pure terror, JAWS remains one of the most influential and gripping adventures in motion picture history.
JAWS @ 50: THE DEFINITIVE INSIDE STORY:
Steven Spielberg shares an authorized look inside the story of JAWS in this documentary. From Peter Benchley’s epic novel to Spielberg’s film, JAWS continues to influence pop culture, cinema and shark conservation. With interviews from Hollywood’s most influential directors and shark scientists, the legend of JAWS is endless.
BONUS FEATURES ON 4K UHD, BLU-RAY™ AND DIGITAL INCLUDE:
For more information on JAWS 50th ANNIVERSARY LIMITED EDITION, please visit:
Press Release: https://www.uphe.com/press-release/jaws-50th-anniversary-press-release
Website: https://www.uphe.com/new-offers/jaws-50th-anniversary
Facebook: /JawsMovie|/UniversalPicturesAllAccess
X: @UniAllAccess
Instagram: @UniAllAccess
Tiktok: @UniversalAllAccess
#Jaws50
FILMMAKERS:
Cast: Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, Murray Hamilton
Directed By: Steven Spielberg
Produced By: Richard D. Zanuck and David Brown
Music By: John Williams
Based on the Novel By: Peter Benchley
Screenplay By: Peter Benchley and Carl Gottlieb
TECHNICAL INFORMATION FEATURE 4K UHD:
Street Date: June 17, 2025
UPC: 191329280812 (US) / 191329280829 (CDN)
Layers: BD-100
Aspect Ratio: 16:9 2.35:1 Widescreen
Rating: PG
Subtitles: English, French Canadian, Latin American Spanish
Video: 2160p UHD Dolby Vision/HDR10+/HDR 10
Languages/Sound: Dolby Atmos, English DTS Digital Surround 2.0 Mono, Dolby Digital 2.0 ; French European DTS-HD High Resolution Audio 7.1 ; Latin American Spanish DTS Digital Surround 5.1
Run Time: 2 hours 4 minutes
TECHNICAL INFORMATION DOCUMENTARY BLU-RAY™:
Street Date: June 17, 2025
Layers: BD 50
Aspect Ratio: 16:9 1.78:1 Widescreen
Subtitles: English, French Canadian, Latin American Spanish
Sound: English (Dolby Digital 2.0)
Run Time: 01:27:58
ABOUT JAWS:
Directed by Academy Award® winner Steven Spielberg, Jaws set the standard for edge-of-your-seat suspense, quickly becoming a cultural phenomenon and forever changing the movie industry 50 years ago on June 20, 1975. When the seaside community of Amity finds itself under attack by a dangerous great white shark, the town’s chief of police (Roy Scheider), a young marine biologist (Richard Dreyfuss) and a grizzled shark hunter (Robert Shaw) embark on a desperate quest to destroy the beast before it strikes again. Featuring an unforgettable score that evokes pure terror, five decades later, Universal Pictures’ Jaws remains one of the most influential and gripping adventures in motion picture history.
ABOUT UNIVERSAL PICTURES HOME ENTERTAINMENT:
Universal Pictures Home Entertainment (UPHE – www.uphe.com) is a unit of Universal Filmed Entertainment Group (UFEG). UFEG produces, acquires, markets and distributes filmed entertainment worldwide in various media formats for theatrical, home entertainment, television and other distribution platforms, as well as consumer products, interactive gaming and live entertainment. The global division includes Universal Pictures, Focus Features, Universal Pictures Home Entertainment, Universal Brand Development, Fandango, DreamWorks Animation Film and Television and Awesomeness. UFEG is part of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production and marketing of entertainment, news and information to a global audience. NBCUniversal owns and operates a valuable portfolio of news and entertainment networks, a premier motion picture company, significant television production operations, a leading television stations group, world-renowned theme parks and a suite of leading Internet-based businesses. NBCUniversal is a subsidiary of Comcast Corporation.
When the seaside community of Amity finds itself under attack by a dangerous great white shark, the town’s chief of police (Roy Scheider), a young marine biologist (Richard Dreyfuss) and a grizzled shark hunter (Robert Shaw) embark on a desperate quest to destroy the beast before it strikes again. Featuring an unforgettable score that evokes pure terror, JAWS remains one of the most influential and gripping adventures in motion picture history.
JAWS @ 50: THE DEFINITIVE INSIDE STORY:
Steven Spielberg shares an authorized look inside the story of JAWS in this documentary. From Peter Benchley’s epic novel to Spielberg’s film, JAWS continues to influence pop culture, cinema and shark conservation. With interviews from Hollywood’s most influential directors and shark scientists, the legend of JAWS is endless.
BONUS FEATURES ON 4K UHD, BLU-RAY™ AND DIGITAL INCLUDE:
- Deleted Scenes and Outtakes – Over 13 minutes of content
- The Making of JAWS - An insider look into the making of this classic film, this original full-length documentary is filled with exhaustive cast and crew interviews, archival footage, outtakes, and much more!
- JAWS: The Restoration - An in-depth look at the intricate process of restoring the movie.
- The Shark is Still Working: The Impact and Legacy of JAWS - A fan-made documentary that focuses on the many ways JAWS has helped shape elements of pop culture and influence a generation of filmmakers.
- JAWS Archives
- Storyboards
- Production Photos
- Marketing JAWS
- JAWS Phenomenon
- From the Set – Available on Disc only
- Theatrical Trailer
For more information on JAWS 50th ANNIVERSARY LIMITED EDITION, please visit:
Press Release: https://www.uphe.com/press-release/jaws-50th-anniversary-press-release
Website: https://www.uphe.com/new-offers/jaws-50th-anniversary
Facebook: /JawsMovie|/UniversalPicturesAllAccess
X: @UniAllAccess
Instagram: @UniAllAccess
Tiktok: @UniversalAllAccess
#Jaws50
FILMMAKERS:
Cast: Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, Murray Hamilton
Directed By: Steven Spielberg
Produced By: Richard D. Zanuck and David Brown
Music By: John Williams
Based on the Novel By: Peter Benchley
Screenplay By: Peter Benchley and Carl Gottlieb
TECHNICAL INFORMATION FEATURE 4K UHD:
Street Date: June 17, 2025
UPC: 191329280812 (US) / 191329280829 (CDN)
Layers: BD-100
Aspect Ratio: 16:9 2.35:1 Widescreen
Rating: PG
Subtitles: English, French Canadian, Latin American Spanish
Video: 2160p UHD Dolby Vision/HDR10+/HDR 10
Languages/Sound: Dolby Atmos, English DTS Digital Surround 2.0 Mono, Dolby Digital 2.0 ; French European DTS-HD High Resolution Audio 7.1 ; Latin American Spanish DTS Digital Surround 5.1
Run Time: 2 hours 4 minutes
TECHNICAL INFORMATION DOCUMENTARY BLU-RAY™:
Street Date: June 17, 2025
Layers: BD 50
Aspect Ratio: 16:9 1.78:1 Widescreen
Subtitles: English, French Canadian, Latin American Spanish
Sound: English (Dolby Digital 2.0)
Run Time: 01:27:58
ABOUT JAWS:
Directed by Academy Award® winner Steven Spielberg, Jaws set the standard for edge-of-your-seat suspense, quickly becoming a cultural phenomenon and forever changing the movie industry 50 years ago on June 20, 1975. When the seaside community of Amity finds itself under attack by a dangerous great white shark, the town’s chief of police (Roy Scheider), a young marine biologist (Richard Dreyfuss) and a grizzled shark hunter (Robert Shaw) embark on a desperate quest to destroy the beast before it strikes again. Featuring an unforgettable score that evokes pure terror, five decades later, Universal Pictures’ Jaws remains one of the most influential and gripping adventures in motion picture history.
ABOUT UNIVERSAL PICTURES HOME ENTERTAINMENT:
Universal Pictures Home Entertainment (UPHE – www.uphe.com) is a unit of Universal Filmed Entertainment Group (UFEG). UFEG produces, acquires, markets and distributes filmed entertainment worldwide in various media formats for theatrical, home entertainment, television and other distribution platforms, as well as consumer products, interactive gaming and live entertainment. The global division includes Universal Pictures, Focus Features, Universal Pictures Home Entertainment, Universal Brand Development, Fandango, DreamWorks Animation Film and Television and Awesomeness. UFEG is part of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production and marketing of entertainment, news and information to a global audience. NBCUniversal owns and operates a valuable portfolio of news and entertainment networks, a premier motion picture company, significant television production operations, a leading television stations group, world-renowned theme parks and a suite of leading Internet-based businesses. NBCUniversal is a subsidiary of Comcast Corporation.