The scariest thing about The New Blood isn't even in the movie. It's the MPAA rating card in front of the film notifying us that once again, we're presented with the truncated theatrical version. Alas, pleas and fan petitions fell on the deaf ears of Paramount. On the bright side, we can at least count on the studio(most of the time) to provide top-notch quality. Sometimes referred to as Carrie Vs. Jason, this was the first entry to blatantly steer into metaphysical territory. Apparently picking up some years after Jason Lives, the story begins with young telekinetic Tina(Jennifer Banko, not the little girl from Poltergeist as some moronic moviegoers thought) witnessing her drunk father slap her mother around. Naturally distraught, she dispenses of pops by crashing the dock into the lake with him on it. Flash-forward a few more years to a grown Tina(Lar Park Lincoln of Knot's Landing), who's guilt-ridden and under the care of Dr. Crews, a shady psychiatrist played by Terry Kiser. Fans of Weekend At Bernie's will recognize Kiser as the posthumous title character of that classic. As with the majority of the Friday The 13th series, the plot isn't terribly complicated: Tina unwittingly resurrects Jason from his lake slumber and he's a itchin' to kill. Lucky for him, there are campers and a whole pack of young partiers staying next door to Tina. Naturally, he offs them in the best ways the MPAA would allow. Of course, a rousing showdown ensues where Tina gets telekinetically medieval on Jason's ass, bringing things down on his head and tossing various objects towards him. The entry marked the first time Kane Hodder put on the hockey mask and he's really terrific. Of course, it was a non-speaking part, but Hodder's take on the character is robust, towering, and terrifying; easily, the best Jason ever. The ending is a bit on the cheesy side, but this is one fun movie, if only for Friday fans, even if the MPAA butchered the holy hell out of it. The A/V Presentation Finally available in widescreen, The New Blood is presented 1.78:1 and anamorphically enhanced. Originally filmed open-matte, this transfer provides for a more balanced, theatrical look than old, full-frame VHS and laserdisc versions. The opening begins with a few nicks and scratches but clears up quickly as title sequence starts. Overall, it's a very crisp, clean-looking image that actually improves over the course of 88 minutes. Grain is also minimal. Photographically, this sequel was shot with a lot of gray and bluish tones. Bright colors do not leap off the screen here but I don't think they were meant to. Fans familiar with older transfers should be quite pleased with this. Sonically, Paramount opted for a 5.1 mix this time around. This film always had a great mix for a low-budget horror sequel and the 5.1 provides for decent, if not great, results. Much of the sound field is confined to the front channels and the action is always crisp and clear. Sound effects are appropriately placed to provide a bit of fun in the mix. The film's score has always been bassy and thundering, but I had to turn up my subwoofer a notch to get more of that effect. Extras What, are you high? On the supplementary side, this sucks on so many levels. Not even the theatrical trailer is present, which I can't understand why because being familiar with it from my movie theater days, I don't see what could have possibly caused clearance issues(but what do I know? To a company like Paramount, I'm just a dumb consumer who doesn't deserve more for my money). Perhaps they will revisit the series in the future, but they also have tons of cut footage that could have been presented as an extra. Shame on them, but who's to say they care? In Short A fun but censored Jason flick, priced a bit too high at $24.99 with zero extras, but the technical quality should please fans.