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Our story begins in 2025 A.D., at the "Crystal Lake Research Facility." With the world's top scientists and engineers still unable to explain the secret behind Jason's amazing resiliency, he's been chained up deep beneath the surface, all ready for the big cryogenic freeze. But a little containment mishap results in another dozen or so dead bodies, and ol' frosty gets sent back to the future along with a plucky research scientist (Lexa Doig). Flashforward a few hundred years, and a team of teenage researchers on a "field trip" accidentally stumble upon our frozen pair, and idiotically defrost them just in time for the first orgasm. Bad move, and can you guess what happens next?

Jason X is actually a fairly clever concept in that direct-to-video sort of way. This plays like a big- budget, two-hour "Very Special Episode" of Enterprise, as if Kirk and the gang got marooned on Camp Crystal Lake. I liked Todd Farmer's script, which nicely integrates the usual stalk 'n slash with the wink-wink, nudge-nudge self-reflexive humor now a requirement of the horror genre, and plenty of other "nods" (i.e., ripoffs) of sci-fi action movies from Aliens to RoboCop. It's just too bad the direction by Jim Issac is so flatfooted, with the sluggish pace and poor editing defeating any hoped-for suspense. Also not helping matters is another terrible score from Harry Manfredini, whose approach is just too out of touch with modern sensibilities to work. Where's Marilyn Manson when you need him?

But perhaps what Jason X lacks the most is a point and more nerve. The film only comes alive when it is truly inspired (the "Virtual Crystal Lake" bit is a classic), but such moments are few and far between. What the film may ultimately be remembered for most is its visual sheen: The first major Hollywood film to be post-produced entirely in the digital realm, the special effects are indeed quite impressive for a flick that cost little more than $10 million. Plenty of CGI, cool models, and the usual gore effects are all handled adroitly, and this is the slickest of the Friday flicks by far. But even a torqued-up Robo-Jason can't save this flick. Evil may get an upgrade in Jason X, but it can't save him from irrelevancy.

Video: How Does The Disc Look?

Even more futuristic than the concept of Jason in space is... Jason going high-def!? The filmmakers took an interesting tack with Jason X, one that is likely to gain popularity as cost- conscious producers need to cut escalating budgets at every corner, and the production values of mainstream television approach that of low-budget film. Shot on 35mm, the entire film was scanned in frame by frame and completed entirely in the digital realm. This not only allowed for extensive special effects and opticals at low-budget prices, but gives the film a slick, clean sheen that looks far more expensive than it actually is.

Given that this is a "digital to digital" transfer, it is not surprising that it looks great on DVD. Presented in 1.78:1 anamorphic widescreen, there are no "print" anomalies to worry about, resulting in a pristine presentation. Blacks and contrast are excellent, and colors wonderfully vibrant and free of any sort of noise or bleed. Detail and sharpness are well above average, with only shadow detail in some scenes a bit less than reference quality. I also noticed little in the way of compression artifacts save for a couple of minor examples of polarization on long dissolves, and the layer change in the middle of the film is poorly placed. But I think this "digital post production" idea has merit and may be a sign of things to come. This DVD certainly looks great, so who am I to stop the march of technology?

Audio: How Does The Disc Sound?

Jason X also marks another first: Jason in DTS! New Line has delivered very fine Dolby Digital and DTS 5.1 tracks for Jason's first trip into outer space, and it's a fun, active experience. Dynamic range is expansive, with separation of the dialogue, music and effects nicely spread out across the entire front soundstage for a spacious effect. Surrounds are actively engaged, especially for subtle ambiance and a few neat discrete effects. The .1 LFE is also very tight, especially on the explosions and a few of Jason's more, uh, physical "kills."

Comparing the DTS and Dolby Digital tracks, I actually found the DTS to be significantly better in many respects. It's brighter, more alive and enveloping: transparency is more seamless across all channels, dynamic range sweeter, and low end tighter. The Dolby Digital is certainly fine and more than listenable, but if you have a choice, go for the DTS.

Also included is an English 2.0 surround track, and English subtitles and Closed Captions.

Supplements: What Goodies Are There?

Well, Jason fans, here it is: the first-ever special edition of a Friday the 13th film. Alas, it's Jason X and not the first flick, but at least it is a step in the right direction. (Hello, Paramount?) New Line and Automat Pictures have put together a fun batch of extras that manage the tricky task of being both respectful to the fan base but still appropriately cheeky. It may be a bad movie, but it's not a bad DVD.

Let's start with the screen-specific audio commentary by director Jim Issac, writer Todd Farmer, and producer Noel Cunningham. This track isn't as nearly as much fun as the commentary on the also just-released Jason Goes to Hell despite how goofy this film is, mainly because this group actually seems to take it more or less seriously. Issac is the most annoying, constantly talking about he didn't want to make "just" a gore movie, unless it was "true to the story"(?) Issac even talks - without irony - about "putting his team together" to tackle such a heady concept as Jason X! Luckily, it isn't all somber and serious, with highlights including a diatribe on the impact of movie violence on impressionable young minds, talk of the various early versions of the script, and some fairly in-depth discussion on the complex special effects. (And gorehounds, take note: there isn't an "Unrated" cut of this film because of the very few cuts actually required by the MPAA to obtain an "R" rating.) I can't say this isn't a perfectly fine commentary, it's just too bad it isn't more fun.

The Many Lives of Jason Voorhees (29:52) is a total hoot, a look back at the rise (and fall?) of Jason through the years. While short on production antecedents or cast and crew appearances from the first eight Paramount flicks (only series creator Sean S. Cunningham offers an interview), the Automat crew has wrangled up a great bunch of commentators, including Jason himself Kane Hodder, New Line CEO Robert Shaye, Jason Goes to Hell director Adam Marcus, film critic Drew McWeeny, film historian David del Valle, Fangoria Tony Timpone, the irrepressible Joe Bob Briggs, and those annoying "American Movie" guys Mark Borchardt and friend Mike Schank. (Even the lack of availability of clips from the Paramount flicks is circumvented, courtesy of some amusing "recreations" with B- movie goddess Julie Strain!) "Every state has its Camp Crystal Lake," and the folklore of Jason Voorhees remains as incredible as it is highly profitable. But while tongue-in-cheek, his featurette also takes the series seriously on its own terms, and the topnotch editing by Catherine Hollander keeps the pace moving with tons of great quotes and laughs. This is a great party video, and a must-watch for any Jason fan.

Far more straightforward but still fun is By Any Means Necessary: The Making of Jason X (17:28). Perhaps the film's most unique feature in terms of production is the fact that it was shot on film then scanned in its entirety into the computer and completed digitally. It's an interesting approach not only for a Jason movie but any movie at all, which this featurette takes as its main focus. Aside from some quickie EPK soundbites from the main cast, it's all about the CGI effects and the creation of the space milieu, which admittedly are all very impressive for a film made this cheaply. Jason slashing his way through the digital world also offers some unique opportunities for splatter, and we're a long way from Camp Crystal Lake, 1980's-style! Kinda fun. Both these featurettes are presented in 1.78:1 anamorphic widescreen, and no subtitle or chapter stop options are provided.

Rounding it out is the film's theatrical trailer in anamorphic widescreen, and proving that New Line really knows their fan base, a cute Jump to a Death scene access option, which even includes a "Random Kill" function. Clever.

DVD-ROM Exclusives: What do you get when you pop the disc in your PC?

A step over the lackluster ROM extras on Jason Goes to Hell, pop in Jason X and be greeted by a nice interface (complete with underscore), and access to the main ROM feature, the film's complete original screenplay with direct scene access. Other options include the official website contained on the disc in its entirety, plus a weblink to New Line's Hot Spot portal.

Parting Thoughts