Society has come to expect the obvious from horror movies: nudity, drugs, sex, blood, killing and bad acting. What’s not expected is the revamped attitude of the new “Friday the 13th.” The film manages to provide the right mix of blood and humor to please any horror-film buff.

The film’s focus as a reimagining of the first four “Friday the 13th” films brings it back to its roots. It is produced by Michael Bay, who also produced the remakes of “The Texas Chainsaw Massacre” and “The Amityville Horror,” and directed by Marcus Nispel, director of “The Texas Chainsaw Massacre.” Unlike the other two movies, which were set in the ’70s, “Friday the 13th” provides an old-school horror style set in the modern day.

The film opens with a flashback to Friday, June 13, 1980, where a young, soon-to-be-killer named Jason Voorhees witnesses his mother get decapitated by a female camp counselor who is trying to escape from the mother’s murderous rampage. Jason’s mother “speaks” to him and orders him to avenge her death. The film then fast-forwards to the present day where a group of friends vacation at Camp Crystal Lake. One by one, each of the unfortunate 20-something’s are picked off, except one, Whitney (Amanda Righetti), who is spared because she reminds Jason of his mother.

The movie boils down to a standard hunter-versus-prey game. The fun is waiting to see when and how Jason is going to pounce.

Jared Padalecki and Aaron Yoo are the two standout actors, who both deliver their lines with tact and ease.  Padalecki, the resident horror star of “Supernatural,” manages to portray a smart and tough character convincingly. He gives the character a sense of justice and a feeling of security. Yoo, on the other hand steals the show with both his comic timing and iconic death scene of a pole slowly being shoved through his neck.

The film works well by not taking itself seriously as an intelligent movie. This is what brings “Friday the 13th” its bloody charm. When the characters are not drinking or smoking, they’re just ripping off their outerwear in order to better accommodate their desires to be naked. This really makes the nudity over-the-top, yet enjoyable, to watch. It provides little to no background, and rather than portraying Jason as a sympathetic, misunderstood character like recent serial killers, he is instead seen as a menacing figure that literally runs after his intended victims when he is ready to strike. The high death count makes the plot a never-ending rampage of slashing and stabbing, creating a high amount of tension that keeps viewers on edge.

The film, unfortunately, is plagued with traditional horror-film flaws. It doesn’t give any new material to the dying genre but, rather, adds more meaningless fluff and annoyingly predictable scenes. The main characters always manage to say and do things to get themselves killed with little character development. However, this shouldn’t detract from the murderous bloodbath of Jason, who takes pleasure in killing off the main characters in outrageous style. Whether it is an ax through someone’s back or an arrow through the head, Jason’s murders are elaborately crafted and carried out.

While each different element in the film is overused and hackneyed by almost every other horror film created, it’s the execution of “Friday the 13th” that sets it apart. The pacing is flawless and a sense of despair is effortlessly implemented. Unlike other sequels, a follow-up for this film would not leave viewers dreading it.

“Friday the 13th” was written by Damian Shannon and Mark Swift, and directed by Marcus Nispel.