Getting Friday the 13th films on 4K UHD has been a tricky process. Paramount released the original and then put the first sequel in their second Paramount Scares collection. Arrow first put the 2009 remake out and now the previous two sequels. These will have to tide us over while we await a complete set including parts III – VIII. Come on, already! We need to have both final chapters that weren’t the final movie on 4K!
For low-budget slasher movies, these movies continue to look great on 4K. Shooting on film and being produced by studios goes a long way to stand out.
Jason Goes to Hell begins with a beautiful sunset on Crystal Lake. Though an atypical entry in the series, with Jason possessing three other bodies before returning to his hockey mask form, it still centers on a lot of campgrounds at night. The old dark woods was made for 4K as the deep blacks reproduce well in the format.
Surround sound includes the jump scare stingers and kills splattering in the rears. This one also includes a full military assault, and supernatural finale with surrounding sounds to accompany them.
So here’s where I really relate to this special edition. In a new commentary track, horror film historians Michael Felsher and Steve Barton embody the turnaround Jason Goes to Hell has experienced since 1993. I was like them in the ‘90s, but it’s grown on me too.
Again, it helps that there have been more Jason movies since this, including a more traditional remake and the outrageous space sequel we’ll also get to. Now that it’s not the last word on Jason, it’s an interesting diversion. Felsher and Barton are honest about what actually works and what still doesn’t. They also help point out what has been added to the unrated cut.
Robert Kurtzman gives an interview about the film’s makeup and shows some of the unused monsters from the supernatural finale. I’m not sure that video or stills were on previous editions, but I haven’t seen everything, certainly not the entirety of the Shout! Factory set. Most of those pertaining to Hell and X are included in these editions too.
Julie Michaels doesn’t address how her towel stayed on throughout the opening scene, but she does talk about her whole stunt career. Both Kurtzman and composer Harry Manfredini discuss the backlash to Jason Goes to Hell. It seems a bit defensive but I guess that’s the legacy of the film. 
Jason X was always a hoot. I support horror franchises going to space and will defend Hellraiser: Bloodline too. Coming after Scream, it was time for a funnier Jason, though Jason Lives probably works better.
Jason in space has great darkness too. This time instead of the woods, it’s a spaceship and cryogenic facility where Jason hangs in a pure void. Kane Hodder is tall enough that he stands above the lights in the ship so he rises into the darkness.
The surrounds on Jason X involve more gunplay since it is a space marine movie.
This one also has a Manfredini interview and he goes kill by kill with the musical cues, including his callbacks to the previous sequels.
This time Felsher and Barton are more mounting a defense of the maligned movie, which is odd because if you’re watching you’re already a fan. They have some good points about the bootlegging hurting the film and New Line vs. Paramount continuity, but it’s mostly fanfare for Jason X.