Ranking the Friday the 13th Movies

        We're back with a new horror movie franchise ranking video.  This time we're looking at the entirety of the Friday the 13th franchise.  That includes all 10 movies in the main series and the reboot movie.  Since I have already reviewed Freddy vs. Jason in my look at the Nightmare on Elm Street post.

        As always these are purely your thoughts and opinions on these movies. If you have different opinions please feel free to comment them down below in the comment section. I'm more than excited to hear what you think about this cult classic series.

Friday the 13th

7/10

        Friday the 13th (1980) is the quintessential slasher film that became a cult classic and set the stage for one of the most enduring horror franchises in cinema history. Directed by Sean S. Cunningham, the film follows a group of teenagers at Camp Crystal Lake who are hunted by a mysterious killer. While the villain in this first installment is not the iconic Jason Voorhees we associate with the series, the film’s atmospheric tension, chilling score, and sudden, brutal kills lay the groundwork for the future of slasher the film. The twist ending, revealing the true killer, has become a hallmark moment in horror.

        The film’s strength lies in its simplicity and raw suspense. It introduced audiences to a new level of horror with its no-frills approach to murder and mayhem, focusing on building tension rather than relying on elaborate effects. The low-budget production works in its favor, giving it a gritty, unsettling edge. While some performances may not have been groundbreaking, the cast does include a young Kevin Bacon, who would later rise to fame. The basic plot may seem predictable by today’s standards, but in 1980, Friday the 13th stood out for its ability to keep viewers guessing until the climactic reveal.

        Although the film is not without flaws—some pacing issues and occasionally flat dialogue—it paved the way for what would become a horror juggernaut, solidifying its place in pop culture. Its impact on the slasher genre is undeniable, even if it’s overshadowed by its sequels, where Jason Voorhees becomes the iconic figure he is today. For its contributions to the genre and memorable moments, Friday the 13th earns a solid 7/10. It’s a must-watch for horror fans who want to see the origins of one of the most famous franchises in the genre.

Friday the 13th: Part 2

8/10

        Friday the 13th: Part 2 (1981) builds on the momentum of the original while establishing Jason Voorhees as the true face of the franchise. The film’s shocking opening scene, where Jason hunts down Alice, the sole survivor from the first movie, immediately sets a more brutal tone. No longer a mysterious presence in the background, Jason bursts onto the screen as an unstoppable force of vengeance. This entry shifts the focus back to Camp Crystal Lake, where a new group of counselors finds themselves hunted by the now-adult Jason.

        In this sequel, Jason hasn’t yet donned his signature hockey mask but still proves to be a terrifying figure with his sackcloth mask and raw physicality. His ability to stalk his prey, combined with the gritty, backwoods setting, adds to the film’s relentless tension. The kills are creative and often brutal, with each counselor facing a uniquely gruesome fate. Director Steve Miner does an excellent job of using suspense and atmosphere, turning the quiet, isolated camp into a death trap. The film also establishes Jason’s supernatural resilience, giving him an almost mythic status that sets him apart from other slasher villains of the time.

        Friday the 13th: Part 2 succeeds as a horror sequel by deepening the lore of the franchise while delivering on scares and action. Though Jason doesn’t yet wear the hockey mask that would become his trademark, his terrifying presence is more than enough to make this film one of the stronger entries in the series. It balances the necessary slasher tropes with a heightened sense of dread, making Jason an unforgettable horror icon. For its solid pacing, effective kills, and the introduction of Jason as the main villain, this installment earns an 8/10. It remains a must-see for fans of the genre and a defining moment in the evolution of slasher films.

Friday the 13th: Part 3

6/10

        Friday the 13th: Part 3 (1982) brings Jason Voorhees back to Camp Crystal Lake as he terrorizes a group of friends staying at a nearby family cabin. The film picks up on the formula established by its predecessors, mixing slasher thrills with isolated setting horror. A new group of teens faces the deadly wrath of Jason after a run-in with a group of bikers, adding an additional layer of conflict to the plot. While the introduction of Jason’s iconic hockey mask in this film is significant for the franchise, the overall experience is hampered by weak characters and predictable outcomes.

        The biggest issue with Part 3 is the flatness of its characters. The group of friends lacks depth, with many of them serving as little more than fodder for Jason’s rampage. The film’s dialogue and interactions feel superficial, making it hard to connect with or care about any of the characters. This lack of character development makes the deaths, though creative, feel expected rather than shocking. The plot feels somewhat formulaic, relying heavily on the same jump scares and chase sequences that defined earlier entries, without bringing much new to the table.

        Despite its shortcomings, Friday the 13th: Part 3 does have its merits, most notably the introduction of Jason’s iconic hockey mask, which would become synonymous with the character and horror genre. The film also takes advantage of the 3D technology of the time, though the effect feels gimmicky by today’s standards. Ultimately, the movie falls short due to its predictable plot and two-dimensional characters, earning a score of 6/10. It remains an important entry in the franchise for its impact on Jason’s look, but it lacks the suspense and depth needed to stand out in the series.

Friday the 13th: The Final Friday

8/10

        Friday the 13th: The Final Chapter (1984) is often regarded as one of the best entries in the franchise, delivering a perfect mix of suspense, brutality, and memorable characters. The film follows siblings Trish and Tommy Jarvis, who are caught in Jason Voorhees’ latest killing spree. While Trish tries to connect with a group of teens staying nearby, Tommy, played by a young Corey Feldman, quickly becomes the standout of the film. His love for making scary masks and fascination with horror adds an intriguing layer to his character, making him a key part of the film’s tension and ultimate resolution.

        One of the strengths of The Final Chapter is how it ramps up the intensity and violence compared to previous entries. Jason’s kills are more brutal, showcasing the heightened stakes as he methodically eliminates the group of teens and anyone else in his way. The film strikes a perfect balance between slow-building suspense and shockingly violent moments, keeping viewers on edge. As the body count rises, the sense of dread builds, culminating in one of the most memorable and shocking finales in the series. This was intended to be Jason’s definitive end, and the film goes all-in to deliver a climactic showdown.

        Though The Final Chapter was far from the true end of the franchise, it succeeds in feeling like a satisfying conclusion to the original run of Jason’s story. Corey Feldman’s performance as Tommy, along with the brutal action and tense atmosphere, sets this entry apart. For fans of the series, this installment offers some of the best moments and character dynamics, earning it a strong 8/10. It’s a must-watch for those looking for peak Friday the 13th horror, delivering a gripping experience while cementing Jason as an unstoppable force in pop culture.

Friday the 13th: A New Beginning 

4/10

        Friday the 13th: A New Beginning (1985) is widely considered one of the weakest entry in the franchise, earning its reputation for poor storytelling and a baffling twist that disappointed fans. The film follows a teenage Tommy Jarvis, now traumatized from his previous encounter with Jason Voorhees, as he joins a group home for troubled teens. When one of the teens is brutally murdered by another resident, Jason seemingly returns to terrorize the group. The film tries to build tension around the idea that Tommy, scarred by his past, may have become the new killer, but this angle quickly falters.

        What drags A New Beginning down is its disjointed plot and unconvincing twist. While the film features the familiar slasher setup and a series of gory kills, the story feels rushed and confusing, with underdeveloped characters who serve as little more than victims for the body count. Instead of Jason being the true villain, the film leads viewers down a frustrating path, revealing that the killer is actually a random EMT introduced briefly earlier in the movie. This character’s motivation—that he snapped after discovering his estranged son was killed at the group home—feels contrived and lacks any emotional depth or impact.

        The twist, which reveals that the killer is a Jason copycat, not Jason himself, is the final nail in the coffin for A New Beginning. Fans expecting a return of the iconic slasher were left disappointed by this bizarre, poorly executed plotline. The film’s pacing, lackluster kills, and forgettable characters further contribute to its 4/10 rating. While it had the potential to explore Tommy Jarvis’ trauma in an interesting way, the weak story and unsatisfying twist make it a low point in the Friday the 13th series, with few redeeming qualities.

Friday the 13th: Jason Lives

7/10

    Friday the 13th Part VI: Jason Lives (1986) is one of the stronger entries in the series, balancing campy fun with intense horror elements. The film follows an adult Tommy Jarvis, once again haunted by Jason Voorhees. In an attempt to destroy Jason’s body for good, Tommy accidentally revives him through a lightning strike, bringing Jason back to life with supernatural strength. This new, unstoppable Jason quickly embarks on another killing spree, and Tommy is left trying to warn the authorities, though his history with Jason makes it hard for anyone to believe him.

        What makes Jason Lives stand out is its blend of self-aware humor and horror. The film leans into the ridiculousness of Jason’s supernatural resurrection, embracing the over-the-top nature of the series while still delivering some genuinely tense and brutal moments. The decision to have Camp Crystal Lake open for the first time in the series, with actual campers present, raises the stakes. This time, it’s not just counselors who are in danger but also children, adding an extra layer of suspense. The sheriff’s daughter, Megan, plays a key role in helping Tommy, and their dynamic adds a fresh element to the story as they try to stop Jason before he wipes out the camp.

        While the film doesn’t reinvent the slasher formula, it’s one of the most entertaining and well-paced entries in the franchise. The action is relentless, and Jason’s resurrection gives the film a fresh energy. The tension between Tommy and the disbelieving sheriff, along with Megan’s determination to help, adds a compelling human element to the chaos. For its mix of humor, horror, and a solid plot, Friday the 13th Part VI: Jason Lives earns a 7/10. It’s a fan favorite for good reason, delivering a fun, thrilling ride that rejuvenates the series while staying true to its roots.

Friday the 13th: The New Blood

8/10

        Friday the 13th Part VII: The New Blood (1988) brings a fresh twist to the franchise, introducing a psychic element that elevates the slasher formula. The film centers on Tina, a troubled teen with telekinetic abilities who accidentally resurrects Jason Voorhees from his watery grave at Crystal Lake. Tina is staying at a cabin with her mother and therapist, grappling with guilt over her father’s death, which she believes her powers caused. The film cleverly juxtaposes Tina’s desire for normalcy, especially after meeting a group of nearby teens, with her terrifying psychic abilities, setting up a unique and engaging conflict.

        What makes The New Blood stand out is its blend of supernatural powers with the traditional slasher formula. Tina’s psychic abilities introduce a whole new dimension to the Friday the 13th universe, leading to some of the franchise’s most memorable and creative moments as Tina battles Jason with her telekinesis. The teens in the film follow the usual tropes, including catty rivalries and reckless behavior, but Tina’s powers and her inner turmoil give the movie a sense of unpredictability. The relentless killing spree by Jason is as brutal as ever, but the psychic-powered showdown between Tina and Jason offers a refreshing and exhilarating twist.

        For a franchise often criticized for sticking to a formula, The New Blood injects a level of creativity that reinvigorates the series. The psychic-versus-Jason storyline keeps the audience hooked with its inventive action and dramatic tension, and the film balances its campy elements with intense, suspenseful sequences. Tina’s character adds depth to the narrative, making her one of the most compelling final girls in the series. For its daring plot, thrilling psychic battles, and Jason’s relentless carnage, Friday the 13th Part VII: The New Blood earns a strong 8/10. It’s a standout in the franchise, bringing a unique twist to Jason’s legacy.

Friday the 13th: Jason Takes Manhattan 

7/10

        Friday the 13th Part VIII: Jason Takes Manhattan (1989) may be ranked low by many fans, but it deserves more credit for what it sets out to achieve. Often dismissed for its outlandish premise and minimal use of its Manhattan setting, the film is actually a self-aware, campy slasher that leans into its absurdity. Jason Voorhees is unleashed on a group of teens aboard a ship bound for New York City, and while the film spends much of its time on the boat, once Jason reaches the city, it becomes a schlocky, fun ride. Those expecting a serious horror film will be disappointed, but if you embrace the camp and dark humor, Jason Takes Manhattan offers plenty of entertainment.

        One of the film’s strengths is its playful tone and its inventive kills. The movie knows it’s over-the-top and doesn’t shy away from embracing that. Jason takes down victims in increasingly ridiculous and creative ways, with the standout moment being a boxing match atop a New York rooftop. One of the teens attempts to take on Jason with his fists, delivering a series of blows, only for Jason to decapitate him with a single punch. It’s one of the most memorable kills in the entire franchise, perfectly capturing the film’s mix of dark humor and violence.

        While it may not be the most suspenseful or scary of the series, Jason Takes Manhattan delivers a unique and fun take on the Friday the 13th formula. The film’s campy tone and self-awareness make it more enjoyable than it’s often given credit for, especially for those who appreciate the absurdity of slasher films. With its entertaining kills and willingness to embrace its own ridiculousness, Friday the 13th Part VIII earns a surprising 7/10. It’s not a horror masterpiece, but it’s a wildly fun, schlocky ride for those who go in with the right expectations.

Jason Goes to Hell: The Final Friday

3/10

        Jason Goes to Hell: The Final Friday (1993) is a major departure from the traditional Friday the 13th formula, and unfortunately, it ranks as my least favorite in the franchise. The film opens with a promising start as Jason Voorhees is blown to pieces by an FBI ambush, seemingly putting an end to his reign of terror. However, things quickly go off the rails when the story shifts to a bizarre body-hopping plot. Jason’s spirit starts possessing people, turning them into killers in his place. This concept feels like a stretch and almost makes the movie feel like a Friday the 13th film without Jason at its core.

        The decision to sideline Jason in favor of this body-possessing storyline misses the mark, leaving fans disappointed. Instead of seeing the iconic slasher in action, viewers are subjected to a series of random people becoming vessels for Jason’s evil spirit, which strips away the essence of what makes a Friday the 13th film enjoyable. The kills lack the brutal creativity of previous films, and the lack of a physical Jason throughout most of the movie feels like a betrayal of the franchise’s core appeal. The film’s mythology, introducing Jason’s family and supernatural elements, feels convoluted and unnecessary.

        For a movie marketed as “the final” Friday the 13th installment, Jason Goes to Hell is a major letdown. It strays too far from the classic slasher formula that fans love, and instead of giving Jason a proper sendoff, it feels like a half-baked attempt to reinvent the series. The movie fails to capture the essence of what made Jason such a compelling villain, earning it a low score of 3/10. Despite the promising title, it’s a frustrating and forgettable entry in the series, lacking both the tension and fun of its predecessors.

Jason X

6/10

        Jason X (2001) takes the Friday the 13th franchise into a completely new direction by setting the story far in the future and in outer space. This bold move resurrects Jason Voorhees on a spaceship after being cryogenically frozen for centuries. Once revived, Jason gets a futuristic upgrade, turning into the supercharged “Uber Jason” after being rebuilt with high-tech nanotechnology. The film embraces its absurd premise with wacky humor, making it clear from the start that it doesn’t take itself too seriously, similar to Jason Takes Manhattan.

        While Jason X is far from a traditional horror film, it’s undeniably fun. The movie knows how over-the-top its concept is and leans into the ridiculousness of Jason stalking victims in space. The kills are creative, with some standout moments like the liquid nitrogen face smash, which is one of the most memorable deaths in the franchise. The high-tech setting allows for some unique action sequences, and the film’s tongue-in-cheek humor keeps it entertaining. The climax, where Jason faces off against an android named KM-14, is a prime example of the film’s campy charm and its willingness to fully embrace its sci-fi setting.

        Though Jason X is by no means a masterpiece, it offers a lot of entertainment value if you go in with the right expectations. It’s a goofy, action-packed entry that doesn’t try to replicate the slasher formula of the past but instead delivers a wild, fun ride. For its creativity and embrace of wacky, self-aware humor, it earns a score of 6/10. It may not be a fan favorite for those looking for a traditional Friday the 13th film, but for anyone in the mood for a schlocky, space-bound adventure, it certainly delivers.

Friday the 13th (Reboot)

7/10

        The Friday the 13th reboot (2009) often gets criticized by fans for being unoriginal, but when taken on its own, it delivers a solid, fun horror experience. The film reintroduces Jason Voorhees in a modern setting, blending elements from the original films while adding its own twists. One of the main plotlines focuses on Clay, played by Supernatural’s Jared Padalecki, as he searches for his missing sister at Camp Crystal Lake. His presence adds an emotional core to the story, as he encounters a typical group of teens who fall prey to Jason’s relentless killing spree.

        The reboot hits familiar horror tropes—the pretty girls, the obnoxious boyfriend, and the stoner friend—but this doesn’t detract from the movie’s overall entertainment value. The cast of characters might be predictable, but they serve their purpose in creating a fast-paced slasher film with enough tension to keep things engaging. The kills are brutal, creative, and well-executed, giving fans the kind of violent thrills they expect from the franchise. Jason is portrayed as a more calculated and menacing figure, adding a fresh layer of menace to his character.

        While the Friday the 13th reboot may not break new ground, it’s an enjoyable horror film that honors the spirit of the original while delivering a slick, modern take. Jared Padalecki’s performance as a determined brother adds depth to the typical slasher setup, and the film’s self-awareness of its stereotypes helps keep it fun. For fans looking for a horror movie that delivers on the genre’s expectations without taking itself too seriously, the reboot offers a thrilling ride, earning it a respectable 7/10. It’s not groundbreaking, but it’s certainly worth a watch for fans of both the franchise and the genre.

        That's it for today's franchise movie review of Friday the 13th. Hope you enjoyed my thoughts and opinions on these movies. I'd love to hear your own opinions down in the comment section below. See you there.

Till Next Time Friends,

Words by Ali

Song Review: Wannabe by Tom MacDonald

         We’re back for another Friday, and another Tom MacDonald song review.  Today we are going to go a bit back in time to one of Tom’s older song.  As of this posting this song and video came out 10 years ago.  This song is technically one that came out before Tom popped off as a popular rapper talking about current events of today.  

        The song we are looking at is called “Wannabe.”  I have linked the music video down below, as well as a direct link to the video, and have copied out the lyrics for you.  Before ready my analysis and review of the lyrics check out the awesome video that came with it.

Wannabe music video

 

        I have copied out the lyrics here for you.  Read through them if you’d like.  If you’ve just watched the video than feel free to scroll on down to the review part of the post.

[Intro]

This is my song, yeah

This is my song, yeah, yeah

This is my song and I'm dancin' with the Devil

On a highway to hell in the middle of the road

This is my time to decide

[Verse 1]

Uh, Devil in my mind now

Monogamy isn't the only thing I've been lyin' 'bout

I'm in the belly of the beast and I'm ridin' 'round

Rope in my hand, should I hang myself or climb out?

I feel like everyone around me 'bout to make it

And I'm busy with some bitch I only fuck with when I'm faded

They say I'll grow to be a monster, but I am one

Why the fuck you think I've been callin' myself "LeeAnn's Son"?

I ain't Thomas anymore, I ain't honest anymore

I don't give a shit about a broken promise anymore

I got back home from tour like a month ago

And I been in the club gettin' drunk since a month ago

I lost the only girl I've ever loved, bet you knew it

'Cause I said a million times, and now it's true

I swore that she would never ever come before my music

And now I see that every rapper sing the same tune

[Chorus]

This is my song and I'm dancin' with the Devil

On a highway to hell in the middle of the road

This is my time to decide if I'm gonna be a better man

Or cover everything I own in gold

This is not the way

This is not the way

This is not the way

That I, that I, that I, that I... wannabe

[Verse 2]

There's rappers in the city that been talkin' shit

And gangs that's in the city, y'all been talkin' 'bout it too

There's women in the city I been fuckin' with on weekends

While I'm out late with my friends, but I'm still in love with who... hates me

I'm guilty and I'm sure it's slowly killin' me

I'ma take the fall and all responsibility

Uh, Jesus in my heart now

I heard he walked with you, I'll bring the car around

Cause I don't have the time or the energy

To forget about the past or forgive myself for anything, I'm waitin' for it

I just cut this whole tape on a party tip

And now I'm like what the fuck, when's the fuckin' party end?

When I wanted to be good, no one else was

When I wanted to be rich, they wouldn't sell drugs

When she wanted us together, man, I guess I didn't

When I needed her to find me, she went missin'

[Chorus]

This is my song and I'm dancin' with the Devil

On a highway to hell in the middle of the road

This is my time to decide if I'm gonna be a better man

Or cover everything I own in gold

This is not the way

This is not the way

This is not the way

That I, that I, that I, that I... wannabe

[Bridge]

This is not the way

This is not the way

This is not the way

That I, that I, that I, that I... wannabe

This is not the way, let it go now

This is not the way, let it go now

[Verse 3]

Uh, I'm 24 and I'm real enough to say

If I don't make it big by 30 I'ma kill myself

I bet you think that's just some super high thoughts

But I ain't made for a full time position at a real job

I was built to fit perfect in a Maserati

And to be the drunkest at the Grammy after party

I'm in this quiet grey area, no feelin's

I'm in a loud grey Acura, no ceilin's

I been tryna figure out how to do it different

I broke too many hearts and never been religious

I'm all alone and all my friends are in the room

I don't wear wolves or fur but I'm howlin' at the moon, loud

I just don't know what to do now

I should move on while there's no house to move out

Too many wannabes are livin' in my neighborhood

And I refuse to let them call me neighbors 'cause I'm really good

        Let’s take a look at the first part of the song.  In the intro of “Wannabe,” Tom MacDonald opens with a declaration of ownership over his life and the challenges he faces, framing it as his personal song. The imagery of “dancin’ with the Devil” and being “on a highway to hell in the middle of the road” powerfully captures his internal struggle, torn between right and wrong. This metaphor of dancing with the Devil highlights the temptation and destructive choices he’s grappling with. However, the line “This is my time to decide” signals a pivotal moment where he acknowledges that he alone has control over his path forward, emphasizing the theme of personal responsibility and the battle to overcome his demons.

        In the first verse Tom confronts his inner demons and mental health struggles, expressing a deep sense of confusion about his identity and the life he’s created.  He admits to lies and destructive behaviors, including infidelity and substance abuse, revealing how these choices have left him trapped in “the belly of the beast.”  The line “should I hang myself or climb out?” starkly illustrates his battle between self destruction and wanting to change.  He compares himself to others who appear to be succeeding, while he is stuck in meaningless relationships and self destruction.  Tom also reflects on his emotional detachment, revealing that he is no longer the person he once was and doesn’t care about breaking promises or the consequences of those actions.  His heartbreak over losing the woman he loves adds a sense of regret, as he realizes he placed his music above personal relationships, only to find that many other rappers share the same story.  This verse powerfully portrays Tom’s turmoil, self doubt, and the consequences of his past.

        In the chorus Tom reflects on the realization that his life has veered in the wrong direction, symbolized by his “dance with the Devil” and the “highway to hell.” He acknowledges the gravity of his choices, caught between continuing down a self-destructive path or making the decision to become a better person. The line “This is my time to decide” highlights the critical moment he’s facing, where he must choose between materialism and inner growth. Repeating the phrase “This is not the way” underscores his deep dissatisfaction with who he’s become, and his struggle to align his life with the person he truly wants to be. This chorus encapsulates his internal conflict, expressing both the pain of his current reality and his desire for change.

        In the second verse Tom MacDonald reflects on the poor choices he’s made, from engaging in shallow relationships to associating with questionable influences. Despite his love for someone who now hates him, he continues making destructive decisions, feeling the weight of guilt and responsibility for his actions. He acknowledges the presence of faith in his life but feels too overwhelmed by his past mistakes to forgive himself. The line “I don’t have the time or the energy” captures his emotional exhaustion, suggesting that he’s trapped in a cycle of regret and self-doubt. Even when he attempts to be good or change, he feels unsupported, as others around him continue down the same negative paths. This verse highlights his internal conflict, recognizing the harm he’s done while feeling stuck, unable to fully break free from the spiral of bad decisions.        

      In the third verse of “Wannabe,” Tom expresses his unwavering determination to succeed as a rapper, revealing that it’s the only path he can see for himself. He bluntly states that if he doesn’t “make it big by 30 Ima kill myself,” he doesn’t want to continue living, showing how deeply tied his sense of purpose and existence are to his music career. Tom dismisses the idea of living a conventional life with a “real job,” emphasizing that he’s built for the extravagance and chaos of a life in the spotlight. He describes feeling stuck in a “quiet grey area,” emotionally detached and uncertain about his future, yet still driven by his ambition. Surrounded by people he sees as “wannabes,” he sets himself apart, knowing he’s genuinely talented and deserving of success. This verse highlights the intensity of his commitment to his dream and his refusal to settle for anything less.  

        

        Overall, “Wannabe” is a raw and introspective exploration of Tom MacDonald’s inner turmoil as he struggles with identity, past mistakes, and the desire for redemption. In the intro and chorus, he reflects on how his life has veered off course, caught between the wrong choices he’s made and his deep longing to be a better person. The first verse delves into his personal demons, showing how past decisions have left him feeling disconnected from himself and uncertain about his future. In the second verse, he recognizes the damage his actions have caused but feels trapped by guilt and the lack of support from those around him. By the third verse, Tom’s focus shifts to his ultimate goal—becoming a successful rapper—which he sees as his only way to truly live, rejecting any other life path. Throughout the song, Tom grapples with self-doubt, ambition, and the weight of his choices, presenting a powerful narrative of a man torn between who he is and who he desperately wants to become.

Till Next Time Friends,

Words by Ali

Ranking the Nightmare on Elm Street Movies

         Welcome Back Readers, Writers, and Horror Lovers

        We are back with some more horror movie franchise reviews.  Today we will be looking at the Cult Classic franchise Nightmare on Elm Street.  This will include the six movies from the original Nightmare series.  As well as the New Nightmare, Freddy vs Jason, and the reboot of the original movie.

        As always, the thoughts and opinions in this ranking review are all my own.  You may disagree and that’s fine.  If you disagree please comment down below and let me know what you think.  I’d love to hear what you think as well.  Also, if there are certain movies, or franchises, that you want me to review let me know down in the comments as well.   Let’s get started and review us some Freddie Krueger.  

A Nightmare on Elm Street

 8/10

        Nightmare on Elm Street (1984), directed by Wes Craven, is a landmark film in the horror genre that not only introduced the world to one of cinema’s most enduring villains, Freddy Krueger, but also helped cement the slasher genre’s popularity. Robert Englund’s portrayal of Freddy, a burned, razor-gloved killer who stalks his victims through their dreams, is unforgettable. The film’s unique concept of blending the dream world with reality brought a fresh take to horror, creating moments of genuine suspense and terror that resonated with audiences. The mix of horror, psychological thrills, and dark humor makes Nightmare on Elm Street a cult classic, with a lasting legacy.

        One of the film’s most impressive aspects is its practical effects. From the eerie, elongated arms of Freddy to the gruesome and imaginative deaths, the special effects team managed to deliver some of the most terrifying and memorable visuals in horror history without relying on CGI. This gritty, visceral style of horror keeps the film feeling grounded, and the visual creativity adds to the unsettling atmosphere. The introduction of a young Johnny Depp as Glenn, Nancy’s boyfriend, is also a notable highlight, as it marked the start of his long and successful career.

        For both longtime horror fans and newcomers, Nightmare on Elm Street is a must-watch. It strikes a perfect balance between genuine horror and a touch of dark humor, ensuring that it remains both terrifying and fun. With a standout performance from Englund and a script that skillfully blends fear with clever storytelling, this film earns its reputation as a horror classic. I’d give it an 8/10, as it still stands as one of the best examples of practical effects and creativity in horror filmmaking.

A Nightmare on Elm Street 2: Freddy’s Revenge

 3/10

        Nightmare on Elm Street 2: Freddy’s Revenge is a significant departure from the tone and structure of the original film, and unfortunately, it falters in delivering what fans loved about the first installment. Instead of focusing on Freddy Krueger as the terrifying, dream-stalking villain, the film introduces a confusing plotline where Freddy possesses a teenage boy, Jesse, who has just moved into Nancy’s old house. This shift in focus takes away much of the suspense and terror that made the original so memorable, and Freddy feels less like the menacing force we expect.

        One of the biggest issues with Freddy’s Revenge is the blurred line between hero and villain. Jesse is both the protagonist and the unwitting vessel for Freddy, making the movie’s core conflict feel less like a fight against a clear, terrifying antagonist and more like an internal psychological struggle. While this concept might have worked well in a different type of horror movie, it feels out of place in the Nightmare on Elm Street franchise. Viewers who come for Freddy’s chilling dream sequences are left disappointed, as the film strays from the dreamscape horror that made the first movie such a success.

        Overall, Nightmare on Elm Street 2 is easily the weakest entry in the franchise. By moving away from Freddy’s role as the central villain and reducing the importance of the dream world, the film loses much of what made the original special. While the attempt to explore new territory could have been intriguing in another context, it ultimately falls flat here. For fans of the series who want to see Freddy Krueger in his full dream demon glory, this sequel is a major letdown. I’d give it a 3/10, as it fails to deliver on the expectations set by the original.

A Nightmare on Elm Street 3: Dream Warriors

 8/10

        Nightmare on Elm Street 3: Dream Warriors (1987) is a triumphant return to form for the franchise, delivering everything fans loved about the original while adding fresh elements to the story. After the disappointment of the second film, Dream Warriors reintroduces Freddy Krueger as the sinister dream-stalking villain and brings back the concept of battling him within the dream world. The film follows a group of teenagers in a mental institution, led by Kristen (played by Patricia Arquette in one of her first major roles), who discover they have the power to fight back against Freddy in their dreams, making for a much more dynamic and exciting storyline.

        The strength of Dream Warriors lies in its well-developed cast of characters. Each of the teens in the institution has their own unique personality and backstory, making it easy for the audience to root for them as they band together to face Freddy. The film manages to balance the horror of the situation with moments of hope and empowerment as the kids learn to wield their dream powers, though not all of them survive. The return of Nancy, the heroine from the original film, adds an emotional layer, while Laurence “Larry” Fishburne’s role as an orderly at the hospital brings a touch of warmth and charisma that enhances the film’s appeal.

        With inventive dream sequences, a strong cast, and a renewed focus on the dream world horror that made the original so successful, Dream Warriors is one of the standout entries in the franchise. It breathes new life into the series, combining thrilling action with Freddy’s dark sense of humor and creative kills. For fans of the series, it’s a return to form that doesn’t disappoint, earning it a solid 8/10 for its memorable characters, engaging plot, and inventive horror sequences.

A Nightmare on Elm Street 4: The Dream Master

 5/10

        Nightmare on Elm Street 4: The Dream Master (1988) is a disappointing follow-up to the fantastic Dream Warriors. Patricia Arquette, who brought strength and vulnerability to the role of Kristen, is recast, which immediately weakens the emotional connection to the character. To make matters worse, the surviving heroes from the previous film are all killed off early on, including Kristen herself. This abrupt disposal of fan-favorite characters feels like a waste of the momentum built in Dream Warriors, leaving the movie to start on shaky ground.

        The film then shifts its focus to Kristen’s friend Alice, who unfortunately lacks the same charm and depth that made previous protagonists so engaging. The story struggles to keep the audience invested in Alice’s journey as she inherits Kristen’s dream-fighting powers. While there are still some creative dream sequences, the kill scenes become increasingly odd, and not in a good way. One particularly bizarre moment involves a teen trying to fight Freddy with nunchucks, a scene that feels more outlandish than thrilling. These unusual choices in tone and action make the film feel uneven and less impactful.

        Additionally, the film leans on tired clichés, such as the trope of the shy, nerdy girl (Alice) winning the heart of the popular football player. While this isn’t entirely unrealistic, it was a worn-out storyline even in the late ’80s, adding little to the overall narrative. Ultimately, The Dream Master doesn’t live up to the high bar set by its predecessor. Though it has moments of creativity and Freddy remains a captivating villain, the film lacks the heart, cohesion, and character development that made Dream Warriors so beloved. I’d give it a middling score of 5/10, as it delivers some entertainment but falls short of its potential.

A Nightmare on Elm Street 5: The Dream Child

 4/10

        Nightmare on Elm Street 5: The Dream Child (1989) continues the story of Alice from The Dream Master, but unfortunately, it’s a steep drop in quality. The premise, which revolves around Alice being pregnant and Freddy only able to attack through her unborn child’s dreams, is bizarre and overly complicated. While the concept had the potential to explore deeper psychological or maternal fears, it instead falls into schlocky territory, losing much of the tension and terror that characterized the earlier films. The dream sequences feel more outlandish than creative, making Freddy’s presence less menacing and more cartoonish.

        The film’s biggest weakness lies in its characters, who are even less relatable than those in The Dream Master. Alice’s journey, which was already a bit underwhelming in the previous movie, doesn’t improve here, and the supporting cast feels underdeveloped and difficult to root for. The kill scenes, while still visually striking, are so ridiculous and over-the-top that they detract from the horror. Freddy’s trademark blend of dark humor and horror becomes more silly than scary, making the overall tone of the movie feel inconsistent and unfocused.

        Adding to the frustration is the subplot involving a doctor who blatantly breaks patient confidentiality, an action that feels absurd even in the context of a horror film. This, combined with the film’s outlandish premise and unlikeable characters, makes The Dream Child feel like it’s trying too hard to be inventive but ends up being more nonsensical than engaging. Next to the second movie, this is my least favorite in the franchise. I’d give it a 4/10, as it’s a muddled entry with little to offer besides a few unintentionally amusing moments.

Freddy’s Dead: The Final Nightmare

 5/10

        Freddy’s Dead: The Final Nightmare (1991), the sixth installment in the Nightmare on Elm Street franchise, is far from the best, but it’s an underrated entry that deserves more recognition for embracing its campy side. The story follows a group of troubled teenagers who find themselves stranded in the eerie town of Springwood, only to end up at the infamous house on Elm Street. Naturally, Freddy Krueger begins picking them off one by one. What sets this film apart is its full embrace of the absurd, leaning heavily into the silliness that earlier films sometimes stumbled into unintentionally.

        A notable twist in the plot reveals that one of the teens is supposedly Freddy’s biological child, but rather than being a shocking revelation, it’s handled in a way that feels more playful than dramatic. This approach highlights the film’s self-awareness and willingness to poke fun at its own outrageous premise. The kill scenes are intentionally ridiculous, and where previous movies might have had unintentionally laughable moments, Freddy’s Dead goes all in on the absurdity. This self-aware humor helps make the movie more entertaining than it otherwise would have been, as it clearly knows not to take itself too seriously.

        One of the film’s more charming moments is the blink-and-you’ll-miss-it cameo from Johnny Depp, reprising his role as Glenn from the original film in a fun callback. While Freddy’s Dead isn’t a masterpiece and certainly doesn’t reach the heights of the franchise’s earlier entries, it stands out for its comedic tone and over-the-top kills that feel deliberately crafted to entertain rather than terrify. I’d give it a 5/10, acknowledging that while it’s far from great, it’s a fun, underrated entry that plays into the absurdity of its premise in an enjoyable way.

A New Nightmare

 8/10

        Wes Craven’s New Nightmare (1994) is one of the most unique and innovative entries in the Nightmare on Elm Street franchise, standing near the top with the best of the series. This ultra-meta film brings Freddy Krueger into the “real” world, creating a fresh take on the well-worn formula. Heather Langenkamp returns, but instead of reprising her iconic role as Nancy, she plays a fictionalized version of herself. The movie cleverly blurs the lines between fiction and reality as Freddy, portrayed once again by Robert Englund, escapes the confines of the movies and begins to terrorize Heather and her young son. This shift from the traditional nightmare realm to the real world adds a chilling new dimension to the story.

        The film’s success lies in how it plays with the concept of horror bleeding into reality. Englund’s dual role as both himself and Freddy Krueger allows for an intriguing exploration of the character, and the way Freddy becomes real feels genuinely threatening. At the same time, it’s fascinating to watch Langenkamp navigate a world where her past work as Nancy now haunts her real life. The interactions between the “real” actors and the fictional nightmare provide an interesting layer of tension, making the film feel more personal and introspective than a typical slasher.

        What truly sets New Nightmare apart is Wes Craven’s commentary on the relationship between horror movies and the audiences that love them. By bringing Freddy into the real world, Craven critiques how deeply horror can seep into our culture and the lives of those involved in making it. The film is both a love letter to the genre and a critique of its darker implications. For its inventive premise, strong performances, and thought-provoking commentary, I’d give Wes Craven’s New Nightmare an 8/10. It’s a standout in the franchise and a bold experiment that pays off in its exploration of horror’s impact on both the audience and its creators.

Freddy vs. Jason

 5/10

        Freddy vs. Jason (2003) is a wild mash-up of two of horror’s biggest icons, bringing Freddy Krueger from A Nightmare on Elm Street and Jason Voorhees from Friday the 13th together for a showdown that’s equal parts entertaining and absurd. The premise is simple: Freddy, having lost his power to scare and kill in the dream world, manipulates Jason into doing his dirty work to revive the fear in Springwood. However, once Jason starts taking too many kills, the two clash in a battle for supremacy. What’s surprising is that, by the end of the movie, Jason comes off as the unlikely hero, which is a strange twist considering his history as a relentless killer.

        While the premise is undeniably fun, the movie struggles with tone and direction. It’s clear that Freddy vs. Jason doesn’t take itself too seriously, but at the same time, it’s unsure whether it wants to be a straightforward horror film or a campy, self-aware spectacle. This inconsistency makes the movie feel uneven, as it oscillates between moments of genuine horror and pure ridiculousness. Freddy is portrayed as the more sinister villain, while Jason becomes almost sympathetic by comparison, which is an odd dynamic given both characters’ brutal histories. The film’s frequent back-and-forth between these tones leaves it feeling a bit scattered.

        One of the most memorable, and hilariously bizarre, scenes is when Freddy attacks a stoner who’s high, taking on the form of a four-foot-long caterpillar. It’s a moment so ridiculous that it crosses into comedic territory, and while it doesn’t make much sense, it’s hard not to laugh at how over-the-top it is. These moments of absurdity are part of the movie’s charm, but they also highlight how unfocused the film can be. For sheer entertainment value, Freddy vs. Jason delivers some fun, but it’s far from the best entry in either franchise. I’d give it a 5/10, as it’s an amusing but flawed crossover that doesn’t fully commit to either being a serious horror movie or an all-out parody.

A Nightmare on Elm Street (Reboot)

 5/10

        The 2010 reboot of A Nightmare on Elm Street had the potential to bring fresh energy to the beloved franchise, but it ultimately fell flat, delivering a lackluster and uninspired entry. The casting of Jackie Earle Haley as Freddy Krueger wasn’t necessarily a bad choice, as he brought a menacing presence to the role, but replacing Robert Englund—who had become synonymous with Freddy—was always going to be a tough task. Englund’s iconic performance had set the bar so high that Haley’s Freddy, while effective, never quite filled those shoes. The reboot’s more serious and gritty tone was a good direction, moving away from the campiness that sometimes diluted the fear factor in the original series.

        However, the film’s biggest flaw lies in its handling of Freddy Krueger’s backstory. Initially, the plot suggests that Freddy was falsely accused and wrongfully murdered by the vengeful parents of Springwood. This would have offered an intriguing twist, framing Freddy as a wronged man seeking revenge. If the movie had followed through with this storyline, it could have added a layer of complexity to Freddy’s character, making for a much more compelling narrative. Unfortunately, the film doesn’t commit to this idea and instead reveals, during the climax, that Freddy was indeed guilty of the heinous crimes he was accused of. The revelation that Freddy’s victims were being hunted simply because they had the courage to speak out against their abuser felt distasteful and left a bad taste, undercutting any chance of sympathy or nuance for the character.

        In the end, the reboot missed its chance to truly reinvent the franchise. While it had a darker, more serious tone that worked in some ways, it faltered due to its poorly executed plot twist and failure to deliver a fresh perspective on Freddy Krueger. The film was a half-hearted effort that could have been so much more. I’d give it a 5/10, as it isn’t entirely unwatchable but lacks the creativity and impact needed to stand out among both the original films and other horror reboots.

        

        That was a lot of Freddie Krueger.  Both good, bad, and just terrible.  Hope you enjoyed my takes on these movies.  Don’t forget to let me know your own thoughts and opinions on these movies.

Till Next Time Friends,’

Words by Ali