Directed by Derek Dennis Herbert
Starring – Kane Hodder, Robert Englund, Danielle Harris
The Plot – The film is the harrowing story of a stuntman overcoming a dehumanizing childhood filled with torment and bullying in Sparks, Nevada. After surviving a near-death burn accident, he worked his way up through Hollywood, leading to his ultimate rise as Jason Voorhees in the Friday the 13th series and making countless moviegoers forever terrified of hockey masks and summer camp. Featuring interviews with cinema legends, including Bruce Campbell (Ash vs. Evil Dead), Robert Englund (Freddy Krueger), and Cassandra Peterson (Elvira: Mistress of the Dark), To Hell and Back peels off the mask of Kane Hodder, cinema’s most prolific killer, in a gut-wrenching, but inspiring, documentary. After decades of watching Kane Hodder on screen, get ready to meet the man behind the mask in To Hell and Back; a uniquely human story about one of cinema’s most vicious monsters.
The film is currently not rated
– Most of the time, a backstory in documentaries serve as nothing more than exposition to tell the whole story, but with the first act of Kane’s life, we get a mold for who he eventually became. All of the bullying, the tolerance to pain, and really the overall entertainment that he gave his friends served as stepping stones to becoming the horror icon that he eventually became.
– Kane’s increasing passion for the characters he takes on is evident in multiple aspects of the film. For most actors, particularly stunt men, a role is just a paycheck until the next one, but for Hodder this embodiment is not only on a physical level, but also a mental one, as Kane himself approached the roles from a psychological level, giving Jason Voorhees some of his most menacing of qualities.
– Imaginative backdrop set pieces. Considering the entirety of this film is told in actor interviews, it’s nice to see that the production spent every creative effort in visually enhancing the rooms around the storytellers, with images straight out of a horror film. For Hodder in particular, we’re treated to what looks like a smashed kitchen, complete with broken chairs and turned over coffee cups, giving the picture that on-set kind of feel each time we cut to Kane.
– While Kane cherishes the fact that he never broke a bone in his decades of work, we still get a very detailed and revealing embodiment of just how dangerous this job truly is with these horror stories that are much worse than anything on-screen. In one of his first films alone, Kane describes being engulfed in flames to such vivid detail, all the while none of the actors and crew around him know just how badly he’s suffering because he does it so frequently. Herbert’s film has no problem glorifying the trade, but does so in a way that never relinquishes the responsibility in relaying the dangerous price that comes with the big lights of the Hollywood luster.
– As a storyteller, Kane’s finest moments seem to come when he tears up re-living some of his most torturous moments, both on and off screen. It offers a satisfyingly revealing side to Hodder that many of his biggest admirers have never been granted. In that regard alone, ‘To Hell and Back’ is the kind of valued documentary that provides emphasis in vulnerability that these often thought of invincible presences never receive.
– Important shooting locations. There is no shortage of on-site locations in landscape and hollowed hallways to some of Kane’s greatest tragedies and triumphs, and this rare gift decades later offers plenty on the way to spiritual reflection. Not only is this valuable to the story for visual representation, but it serves as a cathartic moment for Hodder himself, who comes full circle with the places and faces that have shaped him and his never-die spirit.
– A testament to Kane’s undying reputation, comes in the form of a who’s who list of horror genre celebrities who are interviewed for the film. As we all know, honesty in your work is judged upon by your peers, and the guest list on this picture might be the single greatest assembly of my own childhood heroes that any film has ever seen. Aside from Englund and Harris, Bruce Campbell, Bill Mosely, Sid Haig, Felissa Rose, and Cassandra Peterson are just a few of the names who have interacted with Kane, and if you forget any of their names, fear not, because the film goes overboard on repeating their visual name tags more than a few times.
– Studio stock musical score. No disrespect to composer Jonas Friedman, but the musical tones in ‘To Hell and Back’ strongly lack any kind of versatility or originality to the scenes they accompany, and constantly feel like they intrude upon an emotional rendering that a scene has going for itself.
– For a majority of the second act, the film starts to feel tedious in production team members naming their favorite moments, instead of resting the focus on the title protagonist. People will argue that it does this because Kane is a big part of these films, but I feel like the redundancy sometimes takes far too long to get to its intended finish line, and I would’ve preferred more time donated to Kane off of the screen.
– Much of the production value screams A&E Television style. Aside from the repeat in name tags that I mentioned earlier, that feel like they’re constantly coming back from commercial break, the camera movements and lack of inspirational interview angles diminish the value of creativity that stems from a majority of this project. This greatly leaves the film feeling burdened from transitioning into that big screen presence that so many documentaries this year have already attained.