Friday the 13th (1980)

WARNING: Contains LOTS of Spoilers

Camp Crystal Lake has had a rather bad string of luck when a little boy drowned in the lake in 1957, since then having bad water issues, fires, and murders. Despite locals preaching a curse Steve Christy has full intent of reopening the camp 13 years later, with horny adolescents as his counselors. Having the counselors come a week before the opening of the camp to do setup proves the curse true as bubbly and child loving counselor Annie never shows up. Unaware that she's been brutally murderer not to far away in the woods the counselors continue their work and their activate teenage interest in each other. When others start disappearing throughout the night the remaining counselors begin to figure that they are not alone at the camp in this true to form slasher classic. 

I'm sure it hasn't gone unnoticed but I've more or less said some bad things about Friday the 13th in the past. My dislike of it streamed from my first viewing experience when I was a lot younger and I didn't have the tolerance for the extensive slasher plot. Admittedly I gave it a really bad one out of five starts but as I've gotten old I've grown to appreciate it more for its simple slasher mind. I enjoyed how half the deaths were shown and the other half were discovered, a unique way in keeping the audience scared and surprised. As other reviews have pointed out the fact that the victims don't know until seconds before they die is also rather brilliant in that it leaves no room for suspense, just cold hard fear. Few issues as I had with it back then still hold to me now, such as the randomness of killer. The motive makes sense and all but she shows up out of nowhere and admits to killing everyone. But then again I suppose that's part of the appeal to Friday the 13th. Also I felt that the battle between our killer and Alice was rather lengthy and jolty at best, there was action and then pauses that never made it flow as smoothly as I'd hope.

Aidrianne King is our final girl Alice and she's alright as last woman standing but her acting is less than good at times. Her peers are more effective at getting a a pulse from their characters, whether that being the writers fault for making the supporting cast more charismatic than the leads or just how King decided to play her character. We get to watch Kevin Bacon have sex and then die, which is always a good day in my book, seeing how I put him in that level of untouchable awesomeness, only shared by such prestigious figures as John Lithgow and Alan Rickman. Betsy Palmer became an essential over night cult star with her role as Mrs. Voorhees, and I must say I loved her reverse Psycho bit as the heartbroken mother. I must give credit to director Sean S. Cunningham and DP Barry Abrams for creating a stylistic film with unique camera shots from the killers POV. Also they seemed to highlight the full use of their pretty scenery which really felt realistic in regards to the camp.

I think I liked Bill's death the most as it was almost a combination of all the previous kills done on to him, and since they don't show it really lets the imagination fill in the blanks. The ending is of course the most prominent part of the film and my personal favorite moment, where they use makeup artist Tom Savini's talent to the full advantage. The subtext or message of premarital sex is still clear, though casual teen sex in 1958 seemed a bit of a stretch to me. This is a cult horror film, none of which to anyone who's reading this I'm sure hasn't seen, so as I'm doubting of a recommendation as its likely unnecessary. All I must say is that while its not my favorite horror film nor my favorite slasher flick, its an important one and a fun scare.

Phenomena (1985)

Phenomena is about Jennifer, the precocious daughter of a famous actor, recently sent to a Swiss boarding school. Upon arriving Jennifer is introduced to a few things the first being torment by her classmates who are more or less jealous of her father and put off by her odd love of bugs, and the second that a killer has been lurking the school for months. The mysterious murder preys on the young female students and has remained anonymous entirely to the police. When Jennifer sleep walks one night and is witness to one of the murders she ends up at a Dr. John McGregor, an entomologist, house with his pet and friend monkey Inga. Instantly McGregor takes a liking to Jennifer as they both have a love of insects in common but McGregor also notices her unique ability to handle them. Suspecting that Jennifer is able to telepathically communicate with bugs is proven true when she summons them to her school. With her new gift Jennifer may be able to solve the murders but it doesn't exclude putting her life in danger.

Insanity at it's best we have a crazy plot but with a much more mature director, especially at the beginning. A visual forepart of Swiss alps scenery, and in particular a waterfall, make this the 'nature version' of the Argento deaths. Often I felt the 'I've seen this girl's head fall through a glass window before' but got over it as I got way that our killer was rather keen on impalement and decapitation. Jennifer's sleep walking visions are intensely effective and appear almost nightmarish for the viewer. Often the sub-plots hit dead ends throughout the story and some things that occur in the beginning didn't connect to the end. The film falls apart in the latter half, and I preferred the story buildup to the absurd climax, but I had fun there too. A monkey wielding a straight razor is not a bad day in my opinion.

Jennifer's personality becomes a little high strong as the film progresses but still holds a likeability that's usually not allotted to her type of character which appeals directly in her being different. This is one of Jennifer Connolly's first roles and it displays her as a mature actress at her age. Donald Pleasence is the entomologist who helps Jennifer and alone steals the film with his quiet but great performance. I really did like his character and I was sad when he died. Unlike a lot of his works the film isn't enriched with a tantalizing blue and reds, instead we are treated to a more green scope of nature with the choice of scenary. And of course the deaths are as up close and personal as ever. I labeled this as Argento's heavy metal rock film of the eighties, an odd yet somehow brilliant combination I did not believe could exist. The film blares loud chords of rock music and in it makes itself much younger, maybe to appeal to the slasher teen audience of the eighties.

Phenomena doesn't really care that it doesn't make sense or that it leaves near dead plots, it's just a usual Argento; great soundtrack, great visuals, and interesting deaths. There's of course the inevitable similarities between it and Suspiria, but really only in plot. The two girls are Americans who go to a boarding school run by strict women but other than that the two scenarios vary greatly. Suzy is naive and doesn't do that much to get out of her situation where Jennifer is constantly pushing and has an ability above the typical final girl unfortunate. After seeing this its not hard to conclude what scares the director, in common theme I feel that boarding schools with strict cruel headmasters (Suspiria, Phenomena), and faces with distorted features that expose buck baby teeth (Phenomena, Deep Red) give him quite a scare. Or at least what he attributes to be the most effective. Either or Phenomena is a fabulously absurd eighties horror film, for any fan of Argento or for those looking for a light on the camp and high on the strange film.

The Crow (1994)

Devil's Night - Halloween Eve - is a night with a reputation of arson and murder for inner city Detroit. On this night Eric Draven and his fiance Shelly Webster were brutally murdered and she brutally raped. Leaving behind a grieving surrogate-esque daughter, Sarah, and a fearful city. The gang composed of TinTin, Skank, Funboy and T-Bird are free without even an arrest. A year later though the Crow, which has been said to carry you to the afterlife, brings back Draven in his grief. He seeks revenge on the four men who killed Shelly but is unbeknownst that the gang is part of a larger criminal empire run by the high class katana wielding Top Dollar. When Top Dollar finds out about Draven's invincibility and the Crow's powers he seeks after Draven with the only thing he has left, Sarah.

I'm not sure if it's because of the on set tragedy (Lee was accidentally shot in the making of the film) or just the somber context of the script but The Crow has a drear veil in its viewing. That's not to attest it as uninteresting but rather the opposite as I'm always drawn into the tenebrous subject matter in that it never fails to evoke emotions from me. The film borders revenge flick to Gothic thriller, tending to shy away from the more violent scenes, but not denying us the final product; the gun shoot out felt more like it belonged in a action film than it did with the rest. Towards the hour mark it drags some and I lose focus for a minute or two, whenever I watch it. And as goes the plot is a bit absent minded and one dimensional. But I've always attribute character to surpass plot and I love Draven's character so I could care less if the plot was less attended too. The special effects are not great, even for its time and likely standout the most in the film.

Inevitability praise for Lee's work has been questioned by the close occurrence of his death on set, similar to Heath Ledger's Joker, many claim that the only reason the film is known and his performance accredited is because of the tragic accident. I make no mistake in saying that's absolutely wrong, tragedy or not Brandon Lee is immense in the role of Eric Draven. The sinister clown exteriors the broken angel, both which make for a memorable character. Draven's one liners and his depression from his and Shelly's death create a character that is to stay with you, despite an unstable plot. Ernie Hudson is good at being Ernie Hudson...that's a little harsh, I honestly don't mean it as a negative. His self portrayed likable cop is a nice character to relax on, you always know he's going to be the good guy in that sense it relives the tension from the dark script. And Michael Wincott is great as the baleful Top Dollar. This is a Gothic visual stimuli in a more natural approach than Tim Burton's inspired work. The prominent color of black is painted on nearly everything but it never hides or darkens the screen. Instead it blends with the gray skies and red flashbacks to bleed a comely cinematographic show. Attribute to director Alex Proyas and director of Photography Dariusz Wolski, who I hold this to be his best work.

The film like most of my favorites is a beautiful flaw, not perfect but hits my right notes. I consider it a great piece similar to Guillermo del Toro's Hellboy, not strong on plot but excels in character development and visuals. I love the soundtrack as well with a mix of rock songs and romantic scores to capture the dense sadness and angst. Another thing I picked up was Lee's usual of martial arts in his stance and actions. They didn't really need a stunt double as the martial arts expert was able to do most of the stunts himself. Not necessarily a martial arts fan (odd considering my favorite movie is Kill Bill Vol 2) but I love when it's present in outside genre films. The Crow conceived quite a bit of sequels and a TV spin off; the films holding under a five star rating on IMDB. I believe one of them even has Edward Furlong in it. I can't speak for the sequels as I have not seen them myself but the 1994 film The Crow is a stunning Gothic entry in the horror genre. A must watch but be weary of the black subject matter as it's not for a light viewing.

The Master of Horror - Dario Argento

Next year's lists will not be so crammed, I promise. I'll admit I tried to squeeze a few viewings in of films the night before, having not seen them but knowing they had a strong legacy in the genre. I'm sure some that I critiqued or rather ignored will grow on me and the list will inevitably change, hell Boyfriend's With Fangs needs a drastic update since last year. So do know that none of them are absolute or near such (maybe with the exception of Stephen Kings) and that all contain the fine print "So far".

Thus to prevent addressing it in ever paragraph of this list (as it inevitably would be) lets just mention the flaws of Argento's work; awful sound transfers, not the best acting, and plot instances that fail. Its safe to say character development and the logical plot are not his strong points. What are? Setting up atmosphere in set design (I've heard he's meticulous about such things), collaborating well with composers, directing his DP's to gorgeous cinematographic heights and creating a beauty in death, something I don't believe any other filmmaker has done quiet so well. To note I didn't get distinctly different in separating the giallo's from the true horrors as I would therefore not have a list and they are scary despite trying for a more crime fiction motif. Not solely a master of Italian horror but basically a master of horror in general Dario Argento's films established a cult following based of his work. Not all can be Argento fans (understandably) but those who are appreciate them for what they are, broken masterpieces. So for this year's Master of Horror I focused on my favorite country of horror by one of my favorite directors, My Top Five Favorite Dario Argento Films:

#5 Phenomena (1985)


This is Argento's heavy metal rock film of the 80's, a combination I couldn't dream up if I'd even believed it to work. However, it does in this outlandish piece of cinema. Usual Argento the film has excessive flaws in plot, where most lead dead or near death, and dialogue. Often I'm afraid that he's more interested in surprising us with a killer than establishing a substantial reason as to why this person is murdering everyone. Regardless Phenomena did capture my heart briefly at it's start, young Jennifer Connelly and Donald Pleasence are good in their roles which they play against a beautiful Swiss Alps scenery. The soundtrack is killer as it plays loud chords and blares inside the story, and unlike other films its never inaptly played (I'm looking at you Deep Red). Jennifer's creepy bug telepathy and the rest of the works I've praised place this as number five on my list.

#4 Opera (1987)

Another gore fest Argento with surrealism at play. Again he creates a beautiful sculptured film that transcends the expectation of art. A deeply unhinged but emotionally sympathetic lead makes this the closest thing Argento has had to a character study. Of course bad dubbing doesn't precede the film but no less tolerable than normal. This is by far the most brutal flick ever conceived from this MOH. Harsh and stunning at the same time.

#3 The Bird with the Crystal Plumage (1970)





Oddly The Bird with the Crystal Plumage is less known or rather less acclaimed than his other films. I'm a little confused to this; yes there's an absence of blood but this is one of the best Argento films ever, and it happens to be the first he directed. It follows the basic giallo plot of a writer who witnesses an attempted murder outside an art gallery and begins to investigate for himself. In a way I felt that Deep Red was almost a remake of this, between the similar plots and Sam eerily wearing the same black button up shirt and khaki pants as Marc Daily. The film, though mostly giallo, has a very haunting atmosphere, curtosy of an enchanting score by Ennio Morricone. It takes a real horror turn when Sam's girlfriend is locked in her apartment and the killer is trying to break in. A little excessive reaction but ultimately effective in capturing the terror of that moment, which is to attribute to good acting, especially by lead Tony Musante. No amateur directing shown on his half, Argento's first try was impressively good and a tense suspenseful watch, with a bit of humor.

#2 Deep Red (1975)

If Phenomena hadn't of fallen apart towards the end it had a better chance at ranking higher than Deep Red. But overall Deep Red is the more composed film and the quintessential of his giallo's. A complex range of characters speaking between Italian and English this was the film that scared me since seeing Suspiria. A breach of safety in my seat when I jumped from that laughing doll, a provoked chill from the break in and the death at Amanda Righetti's house, and essentially a great build of tension for the Italian thriller. Deep Red is a quite important viewing in the world of giallo films, not only Argento's most significant but arguably one of the most significant of the genre. And even better a killer with motivation! Deep Red is topped with good performances and an astounding soundtrack (though not the best, in my opinion) which makes it a must see.

#1 Suspiria

This was likely obvious as my header is of the film's eloquent cover but it's not as if there's any other choice. As gathered I liked/loved the other four films on this list nothing comes close to the bravura of Suspiria; a bleeding array of colors via the director of photography and a deafening soundtrack by the Goblins escalate the film to horror movie greatness. The lost in translation aspect appears here as Jessica Harper's Suzy is attending a ballet school in a foregin country. The plot doesn't succumb to the typical monsters as we tend to expect (vampires, werewolves, etc) but does a more rare fear of witches. Suspiria is the work of an preeminent nightmare caught on film, the images, the blood, the lack of distinction to what's going on, the distorted set pieces...nothing is right within the film. Captured soundly by Argento, bad dubbing and odd dialect aside this I'd argue is Argento's most seamless film. Unlike the others which become tangled in themselves Suspiria stays generally focused (I didn't say absolute now did I), and delivers a horror induced ending. As said Suspiria does not go without faults but I don't care, my favorite Argento film is certainty not Oscar worthy, nor is my favorite horror movie. Two titles that Suspiria shares.

Honorable Mentions: Inferno (1980), the sort of sequel to Suspiria that takes a focus on the Mother of Darkness, with a beautiful underwater sequence guest directed by Mario Bava. Tenebre (1982), another giallo piece that follows the murder surrounding a novelist's new book; a blood spattered ending is undoubtedly to satisfy fans.

If you're reading post your own.

Hellbound: Hellraiser II (1988)

I don't think I've ever been so confused after watching a film. Here's how it went...or at least I think. Immediately after the events in the first film Kirstie is taken to a mental hospital where's she being held for her questionable testimony to the police regarding what happened with her father. At the hospital a particular doctor takes notice to Kristie's story and pursues finding the puzzle box and mattress in which Julia died on. Turns out the doctor is obsessed with the box and ends up bringing Julia back to life. The same story as the first pursues and once in full form Julia then takes the doctor into hell by having a smart but quiet girl at the hospital open the box. The three of them wander inside hell, plus Kristie who also managed to get into hell some way or another, but I can't recall. Inside hell Kristie discovers what its like, seeing her Uncle Frank's personal hell, and the doctor becomes a cenobite. Hellbound: Hellraiser II leaves a lot to be desired.

The scariest thing about the first Hellraiser film holds true in this one, and that is the violent imagery. Julia downing a mummy attire is an eerie image. The biggest killer of the film is the plot, where my sister and I felt blatantly confused afterward. In absolute the plot made no sense, nor did it connect, nor did it even seem to follow through. In a lot of ways it reminds me of seasons three and four of True Blood, several different plot lines, all trying to play out at the same time, some end mid way, some drag out till the end, some don't even start till the middle of the film, all not really be treated properly. The sadist doctor, where I can see would be a fitting job for the films S&M background doesn't really appeal to the audience as at first you could really give a shit whether or not he survives in hell, and more so when he becomes the torture doctor he
looks absolutely ridiculous. No where near as horrifying as Pinhead's getup. Some of the other stuff is interesting though, the look through hell was interesting, I enjoyed to see how the Cenobites were only a section for those who opened the box and the rest was just a look into how it's a personal experience for anyone who dies.

The acting defiantly improved, Ashely Laurence was actually really good in it this time, understanding her character better. Clare Higgens is about as good as she was in the first one, so I'll let you be the judge of that. But I enjoyed that they brought her character back, almost as the ultimate bad guy from the first film. Pinhead talks a lot more in this one, and I must say he has some stuff to say. I wouldn't call his dialogue witty by any means, nothing like Freddy Krueger's speech, but a lot of his sentences are almost quotable, and fitting for hell. I also kind of enjoyed how Kristie and Pinhead, as well as the rest of the cenobites, are almost friends at this point. He willing lets her wander around hell and she helps him remember who he was.

I don't really know how to recommend this, while there are several disturbing images, and I'm sure some that will make most squirm, the plot is honestly a mess. If such you can call it a plot it almost leaves a bad taste in your mouth. It's also one of those films that starts out good but manages to collapse in on itself. However; I don't necessarily think it was that awful of a film, maybe my recommendation can stem from not necessarily going out of you way to watch it but if it's the only thing on or your a huge Pinhead fan, then yes its not too bad.

Never Sleep Again: The Elm Street Legacy (2010)

Never Sleep Again: The Elm Street Legacy is a two part documentary series that does an in depth look into the making of all eight A Nightmare on Elm Street films. Spanning four hours (yes, it's painlessly long), the documentary collects interviews from original cast members, special fx and make up artists, and of course Robert Shaye, the guy who produced all eight films. Narrated with a fitting tone by original Freddy Krueger survivor Heather Langenkamp, between the extensive discussion time allotted and the equally lengthy bonus features which cover the unseen interviews Never Sleep Again leaves no questions unanswered.

The film has a cathartic honesty that's unanticipated, all films alike cast and crew admits to flaws and failures of their film(s), and a rectitude of explanation that's staggering at the least. They're not limited either, from The Kung Fu budget cut in The Dream Master to the complicated creative relationship between Robert Shaye and Wes Craven. Whether being Nightmare one or Nightmare six each film gets a fair share of screen time, which is all really done in respects to the fans of the film who lifted the franchise off the ground and stuck through it, even after the series lost its horror contour to the parody of memorabilia and classic lines. But what really makes this documentary luring, at least to my taste anyways, is the use of special effects and how it progressed through the ages. The documentary in itself is almost a brief side documentary on how Hollywood moved through the decade with the technology. And even an idea at what it takes to make a movie on an independent budget.

The interviews seem illimitable by the breadth of people involved. The previous cast members that directors Daniel Farrands and Andrew Kasch accumulated is incredulous, how they found Mark Patton, Jesse from Freddy's Revenge, is a testament in itself. As fans we don't get the 'big stars' such as Johnny Depp or Particia Arquette, but rather the big stars of the series like our heroines who took to Freddy more than once, Heather Langenkamp and Lisa Wilcox. And basically every victim in between. There's the usually disregarded behind the scenes crew who are as much apart of the series as Wes Craven is. They give you insight into the makeup process that it took to create the iconic look of Freddy and the imaginative deaths and the special effects that went into those. Wes Craven's commentary outside of his own work is not bitter, per say, but rather at a loss for the films that followed, save aside for a nice comment toward Renny Harlin. I basically enjoyed about everyone's opinions and insight into the films with the exception of Jack Sholder, as his came off rather arrogant.

The film makes room for a lot of humorous parts to pair with the light hearted fan base, the fangirl inside of me got really excited when I saw that Freddy Krueger and Jason Mewes actually existed in a world together. They even go into the pop culture gags that materialized after Nightmare three and four, where things like the Freddy doll and pajamas became available (as one interviewee ironically points out that Freddy originally was a child molester, and now you can wear him to bed). Band Dokken even stops in for a discussion on how their contribution to Dream Warriors was one of the first music videos available on VHS. At the end of the documentary as homage to the series and the Elm Street junkies each actor quotes their most memorable line during the credits. I mentioned this in the first Nightmare review but Never Sleep Again isn't just a documentary for the fans, even if you've only seen one out of the eight films in the franchise there's something to be savored here. I loved this documentary, as if you couldn't tell, and one that I'd watch again. I recommend to any fan of the genre, of the series, or just of film making in general. 



It's over. This proved to be rather draining task and I did not anticipate that watching all eight Nightmare films in a row would mentally wear me out, despite spacing them on a weekly basis (with the exception of Freddy vs. Jason). An oddly interesting fact the films that I had seen before I decided to watch them all (one, three, seven and eight) were the only four I liked. If I were to do it again, with another series of films, I'd do it every other week just to give myself a break from the excessive use of words (I'm dreadfully tired of typing the words 'Freddy' and 'Elm Street' and 'Imaginative') but I don't know if I could do it again, to be honest. I clearly have some masochistic qualities in film watching as I decided to watch all of the Hellraiser films; however I won't be writing reviews for that. I'm currently seven films in and most I don't have much of an opinion on. My recommendation for the series, film one through eight, is watch it. The films themselves hold reams of originality being eminent from that slasher outline, and hate or love them they are a prominent chapter in horror/film history.

Freddy Vs Jason (2003)

I started a new job today (that I already dislike) and also had to go to my second job so the review is not...in pristine condition. See I just used the word pristine. Anyways I apologize ahead of time for the deficient writing and pallid word use but I also figure that since it's Freddy Vs Jason there's no real need for a professional tone, to mimic the nature of the film of course.

Four years of peace have reigned on Elm Street after Freddy's daughter killed him for good. But Freddy's not ready to sleep just yet and begins to haunt the nightmares of Jason Voorhees, a serial killer who resides at Camp Crystal Lake, killing horny adolescent camp counselors, no less. Freddy convinces Jason to travel to Elm Street and murder the teens there to awaken the fear of Freddy, resurrecting him officially. But Jason starts to get knife happy early on in the film, switching the battle from horror-movie-rule-breaking-teenagers, to a fight between the two notorious slashers. There's this commercial where a dad is sticking his son's feet in plaster and the mom walks in and asks what they're doing. He says that they're making socks that fit to their feet because no other socks will. The mom replies simply "That's really stupid." That's how I feel about Freddy Vs Jason, but in a good way.

I'm potentially going to abuse the word 'camp' in this review as it sums up the majority of the film, also because this is part of the Never Sleep Again reviews I'm going to address mostly Freddy's side of the film, as I don't know too much about Jason and can't speak for his series as a whole. It's rather amusing that out of all eight films the most recent one is the campiest of them all. Ronny Yu as a director is always intriguing but as he mentions he intends not to take the horror too seriously, which could translate in to absolute lack of sobriety, as this film reeks of drunken fun. Freddy Vs Jason is so fatuous that it reserves rights with The Evil Dead and Dead Alive horror archive (alright, maybe not THAT funny). In laughter and in gore; excessively bloody, especially in the end, the final scene between our two slashers is drenched in it. A lot of it is hidden in the dark lighting of the film (presuming to get away with an R rating) which tones the violence down some. There's a fresh variety in the kills as Jason takes his machete to them at different angles, and Freddy uses his claws on the few victims he's allotted.

The acting is so bad its campy bad and Brendan Fletcher isn't helping. But as the ostentatious use of blood it's fitting for the film and the overall lack of purpose. All the teens are not good and play it way over the top, the only one I'd account for because she had a good performance or at the least tried to make it more was Katherine Isabelle. Freddy as a character is a bit lost in the script, they did away with most of his clever one-liners and he's not as prominent as the side story of Lori and Will (gag), but Robert England plays him as smoothly as ever, no bumps or scratches from age or shift in intent (this film isn't as imaginative as the previous Elm Street films). The writers don't take away from Freddy, however, by throwing him straight into a slasher film, in all respects, but they continue to add a cunning nature to him, especially when him and Jason are fighting and he continuously finds objects to impale Jason with.

Freddy Vs Jason delivers what the subtext of its title promises, two slashers in an epic battle, with a dozen or so teenagers getting slashed along the way. Freddy's makeup is as it was in the 80's but done on a more professional budget, but there's still that pizza face prosthetic under the gleams of lighting. The film is partially consistent with the Elm Street stories but has to sacrifice its style some to let the Friday the 13th tone through. The film is not an adept horror film, don't take it as one.

Wes Craven's New Nightmare (1994)

This is Wes Craven's way of saying 'There, I fixed it. Don't touch, just leave it alone.' New Nightmare is a very different departure from the rest of the series, it's set in Hollywood where the tenth anniversary of the original Nightmare on Elm Street movie is approaching. Wes Craven is far from escaping the fame of the first film though as now after six films a demon in the form of Freddy is haunting him, coercing him to write a new script. Craven approaches Heather Langenkamp to revise her role as Nancy, now a wife and mother Heather is apprehensive as she prefers her TV career to her horror legacy, especially in the case of her son. However when Heather's husband dies and she realizes that someone is targeting her son Dylan, Heather has to revert into the dream-scape yet again to stop Freddy.

The seventh installment has, as do they all, the goods and the bad. Goods are this one has some actual thought behind it, as Wes Craven has tried to do with several of his films, but not just make it horror but connect it to real life. This is the predecessor to Scream, the characters within the movie recognize the Elm Street movies as films and Robert England as Freddy. There's parallels to Hansel and Gredel as well as a study of the connection between children and the horror industry today, or rather to how it was in the 90's. In this Craven produces a new look for Freddy that does not quite go with his original story, but it makes sense seeing how Freddy is more of an entity in this than an actual character. It does make for a more horrifying face though, which in addition to a number of other things revamps Freddy as scary. Particularly there's a horror reminescent of the fear caused in the first film, not being killed in your dreams but rather being pulled in to your own bed. Is that...yes...Freddy is actually using his claws! Oh my God what a concept. As my past reviews have hopefully let on that I have found a particular annoyance with that, but this time no he signs his signature on everything.

Craven does the duo role of writing and directing, he plays around with the fact to fiction in the screenplay, especially with the characters. Heather Langenkamp, who suffered a terrifying stalker incident in real life is reliving the fear as Freddy calls her house phone, harassing her and her son. Langenkamp is really quite good at playing herself, which along with other types of acting, such as playing dumb, gets underestimated and overlooked as easy. Robert England's spin is that he's a bit of a whore for the attention of the pop culture fandom, and he paints! England has fun with the depiction of the character and of course teases the viewer by having creepy moments, where you question if he's behind the murders. John Saxon comes back in a larger role (yay!) and Fran Bennett has a very memorable moment in her small scene. Other Nightmare characters like Lyn Shaye come in for cameos as well as Craven himself and Boy Shaye, the man behind all the films.

The downside is it's not a film for the hardcore fans. The ones who love Freddy as the pop culture icon he is and not so much of his terror or Craven's ability to write might not like the film as its not like the first six. The film isn't great, and it has had no where near the impact Scream had, but its not bad and unique. Don't go out of your way to watch it but if it happens to be on TV, click on it and check it out.

Freddy's Dead: The Final Nightmare (1991)

WARNING: May contain some spoilers

After The Dream Child didn't live up to its two predecessors they went ahead and decided that introducing new characters would be the best route for the series. In Freddy's Dead: The Final Nightmare Freddy is aspiring to get out of Elm Street as a decade and a half (this film is set in 1999) of killing in Springfield has become tiresome, that and he's killed just about everyone under the age of eighteen. Chasing after the last teen proves to be a fail as John Doe escapes and ends up at a shelter for troubled youth. Dr. Maggie Burroughs is overseeing his case and in attempts to cure his amnesia wants to take him back to the town where he barely got away with his life. Meanwhile three other teens from the shelter escape only to end up in Springfield where they meet up with Dr. Burroughs and John Doe. The child absent town has left adults wandering, looking for meaning, leaving John Doe and Maggie free to uncover the identity of the former and find out who this mysterious Freddy Krueger is. The point of this film is to tie up lose ends, satisfy demanding fans, and make a profit off the now iconic Freddy.

In the documentary they mentioned that because this was the last one they just went ahead and self destructed, and that's a fair summary of the film. The back story of Freddy's child came out of nowhere, like literally nowhere. Not that it's impossible for a child killer to have a child but in context to Freddy's reasoning for existence it makes little sense as to why he loved his daughter but was more intent on killing the Elm Street teens than finding her, especially since she's thirty years old. The film tries far too hard to be comedic, having Roseanne Bar and Tom Arnold in it for cameos. The one liners...I'm sorry but just because you throw 'bitch' at the end of every small phrase (i.e. Kung Fu, bitch), does not make it funny. "Welcome to Prime Time, Bitch" was a classic line from the third film and they've managed to abuse its power in every film since. The deaths in this one are like the others they relate to the individual victim but are not scary, the only one I found upsetting was the kid with the hearing aid. The ending is pretty dismal, the 3D add on not really bringing too much to the series.

Lisa Zane plays the doctor and daughter to Freddy, she was alright having the adult role in the film so her acting shines above the teens. Breckin Mayer is in the film, he's a known face but not a household name (he was an 90's teen actor who never got that big). Robert England flows with the Freddy change, he's not formidable but he's as gleeful and witty as ever. I was excited to see Alice Cooper as Freddy's step-father but it was a brief 10 seconds and I noticed that they also managed to rip off Stephen King's The Shinning by using the phrase "Take Your Medicine", while crushing my dreams. There's more plot in this one than the previous film, which was completely absent of one. Despite that though the film was a lot worse than warranted, especially since Rachel Talalay was the director. She started out as the Assistant Production Manager on the first film and worked her way up to director. She has a fairly lengthy list of films to her directorial career but this is her first film so its really not bad. In all honesty the biggest fault in the film is the writing, it's too silly to be commended as a horror script, it's clearly a comedy. However, unlike nightmare five Rachel went in with intent to be ridiculous, so it's not quite the same fault as in the fifth when it falls on its face.

I'd like to point out that the tagline inaccurately presaged the film, on both accounts. This is not the last nor is it the best. Freddy's makeup has been loosing its quality for a few films now, looking less like a burn victim and more like a makeup school's first prosthetic project. I'm not sure what else to say other than that it seems like little effort was put into this, almost like The Blair Witch Project the publicity was more interesting than the film (Freddy had a funeral). This was the only film out of the franchise that I wanted to turn off. It's not like it was horrendously bad, of course not. Despite an excess of one liners, bad acting, and a ridiculous plot this is not the worst film I've seen, far from actually. My verdict is that if your not out to watch all the nightmare films than this one is an easy miss.

A Nightmare on Elm Street 5: The Dream Child (1989)

Before I start this week's Nightmare review I like to point out that I've made my first clickable side image thing! I'm quite proud at my half ass photoshop skills as it's now more easier than ever (as if the 7 different tags I have isn't) to locate the reviews. I've also decided that it really wouldn't be complete if I didn't fully do the whole eight films so Freddy Vs. Jason will happen. I may even throw in a review of the documentary, who knows. The other news that basically made me fall off my chair...I have my first follower! I'm beyond appreciative to you that I'm literally at a loss for words, but thank you. And finally I've been tampering with the blog to make it look good. I'm not doing to great so any feedback (if anyone is there) would be helpful.

What is there to say about A Nightmare on Elm Street 5: The Dream Child? Not much I suppose as the film was a bit of a let down. The opening scene is Alice and Dan, from the fourth film, having sex before their graduation. Generally all seems well for our two survivors, new friends, new life, and a promising relationship, until Dan dies that is and Alice finds out briefly afterwards that she is pregnant. Freddy is back again and as a side project to his mundane teen killings he's contriving a more permanent body as he enters through the mind of Alice's sleeping unborn baby. Dealing with the stress of Freddy coming back, her friend's dying all over the place again, and being pregnant Alice is struggling to fight off whats to come. Not all is at fault though, Alice has help from an unlikely entity, Amanda Krueger, Freddy's mother.

If you haven't guessed by my inconsistent posting record that I watched these films awhile ago. Most I wrote down thoughts after seeing so my reviews have been based on those brief commentaries but this is one where I forgot to write a few sentences of the review down as an outline, so I'm purely going off from memory and tidbits of info on IMDB. As blury as some may be I do remember a distinct feeling of having my time being wasted while watching the film. I was not pulled in because there was no plot. Really, it's aimless wandering for the most part, and typically I don't mind shallow almost absent plots but having one with watery characters was just to much of a miss to be a good film. The deaths continue to be creatively concieved but non are so much scary as just weird (Greta's death anyone?). The horror in this I'd say is in the scene where they show the attack on Amanda Krueger, its not graphic as it doesn't show the rape but watching Freddy's future maniac father (England without makeup) stalk through the crowd is pretty effective in capturing that random horror to the whole scenario. Also, the film plays with that hopeless Rosemary Baby element, what's growing inside of you is killing you, and it works out proactively towards the film.

This is where I regret watching the documentary before the films as I remember the actors mentioning that that director was never in one place as he had to address other issues on set, leaving the actors to direct themselves. It shows, on both accounts, in acting Laurie Wilcox returns as Alice and she's comfortable enough in her part where she's convincing, but it still carries an peculiar note to it as it did in the last film. Alice has a new black friend and as the actress mentions in the documentary, she lives! That's The Dream Child for ya, breaking stereotypes since 1989. Let's give it up to Super Freddy actor Michael Bailey Smith for not only tacking the role of Freddy but being brave enough to show his ass on film (yes that is not Dan's ass in the opening scene, I hate to disappoint you).

A Nightmare on Elm Street 5 is one of those films where no one stopped to notice how bad things were. It may have helped if they nixed the the Elm Street teen killings and drove the story more towards the rebirth of Freddy and expanded more on his roots. I don't hate the film but I'd say a low dislike is fair enough. I didn't dislike Dream Master but maybe the slasher plot line that follows in the next two films drowns my neutral viewing experience a bit. Freddy's one liners become glaringly annoying at this point and his makeup is in all it's pizza face glory. I feel like my review would have a lot more positive notes if I had written after watching the film cause all I can recall is the negative, so in truth maybe it's not best to take my advice on the review this week. Maybe the only honest statement I can tell you is that I did feel like I wasted a good movie experience after watching it, all missing plots and bad directing aside.

A Nightmare on Elm Street 4: The Dream Master (1988)

I am the wizard master! Oh wait wrong Nightmare. A Nightmare on Elm Street 4: The Dream Master starts with our previous heroine Kristen having nightmares again, although Freddy is DEAD and Kincaid and Joey try to convince her otherwise she is bothered by the thought that he might be back. By a hellish chain of events Freddy is resurrected and kills Kristen, but not before Kristen pulls Alice, a friend of her's from school, into the dream and gives her power over to her. From there it becomes the contrived plot line of Alice and her friends trying to stay awake and live through Freddy's nightmares. Nightmare on Elm Street 4 proves to not be as good as its predecessor but not awful all around.

The film is quite visually pretty, my favorite being the water bed scene that illuminates green's in blues in a darkly lit room. The death's in this one don't register as anything special in my eyes, and maybe it's just a pet peeve of mine but what's the point of Freddy's claws if he isn't going to kill anybody with them? In truth the best, more creative I should rather say, is Freddy's death, which I loved! In the reviews for the Nightmare remake I noticed that a lot of individuals were criticizing the fact that Freddy didn't toy with his victims before killing them, which I have to agree would annoy me too since it's one of my favorite things about Freddy. But this film seemed to fall victim to the same fault, he toyed with two teens, Alice and Kristen but offed the others without second thought. Am I being picky? Maybe.

Its saddening that Patricia Arquette did not come back for this one, her replacement is deficient, to say the least. Her scream sounds more like her having an orgasm rather than her burning in a pit of fire, every line out her mouth is forced, and she just didn't really get the Kristen character. I liked Alice's transformation, a nice layer to the movie that worked out subtly enough. As for the others well Alice has a lot of friends, who die of course, all of which are played by eager young adults wanting to be in a movie, but their names aren't memorable enough nor is their performances. Is it appropriate for me to gush over the same actor in 7 reviews straight? Probably not so I'll just say that it's Robert England playing Freddy Krueger.

I didn't hate the film, that's a bit drastic to say, but in a lot of ways it wasn't for me. I've observed that in the past three Nightmare's that Freddy's makeup is pretty weak, not really looking like burns. Maybe I'm just nit picking because the first one of is one of my favorites but who knows. This is also the film where the one liners become a small annoyance, nothing too excessive but you notice. As I was saying I don't hate the film, but the lack of blood and the shift in separating some of the mythology from the first film is enough to surpass good direction and a visually satisfying film.

Sam Ash

Normally I don't like to do a lot of irrelevant posts because they are, well, exactly that, irrelevant. Not that I mind them on other blogs, because they are usually funny and such, but I felt that I needed to address this to my non existent audience.

I watch Burn Notice, which to my content has Bruce Campbell in it. Normally I don't look at him and think Ash! He's a good actor and it's easy to separate him from his horror nobility to his ex navy seals persona on the show. However; last night's episode he put on these cerebral looking glasses and I got a wave of Evil Dead. 

I don't know why, as Sam's uneasy tow truck cover doesn't really have anything in common with Ash's unhinged zombie killing personality (especially in that picture), but it happened. I couldn't really shake it for the rest of the episode, maybe it's just time for me to re-watch the series again, or maybe it's because I found out this week that Evil Dead 4 is a maybe.

A Nightmare on Elm Street Part 3: Dream Warriors (1987)

Before the Never Sleep Again mission the third film in the series, and coined as the fan favorite, is one I've previously seen before and as I recall, I very much enjoyed it. A Nightmare on Elm Street Part 3 is set in a hospital for anxious teenagers, who unknowingly have something in common, they are the last of the Elm Street kids. The main character is Kristen, a newly admitted patient to the facility, her arrival brings on Freddy's killing spree within the ward and soon following her is an expert in the field, Nancy. Nancy, now a psychologist, struggles to help the teens while still remaining logical to her peers. But soon Nancy and Kristen learn that the days of helpless dreaming are over, as they are introduced to the dream powers they each posses inside of them.

Re-watching this I did have a mutual experience as of last time, I really liked the film for bring back Nancy, setting up the series's reputation of creativity, and giving Freddy witty dialog. The deaths in this one are really unique and amp the dream concept up in that they tend to the characters personally. My favorite was the marionette, it looked painful and puppet Freddy was adorable yet creepy. And of course I must mention the notorious TV death with spawned the pop icon Freddy, with his line; "Welcome to prime time, bitch". This also, in my opinion, has the best lines and the worst lines. The best going to Freddy and the worst to Taryan for "In my dreams I'm beautiful *cue swtichblades* and bad". And of course others in between. 

The teens are all likable and were convincing as friends. This is Patricia Arquette's first film and she's actually good in it. John Saxon comes back for a brief cameo, nuff said. In the first Nightmare film I enjoyed the fiestiness to Nancy's character, this time around Heather Langenkemp plays a much more relaxed Nancy, having settled into being adult, but of course when it comes to Freddy that raw fight she displays in the first film comes out. And....Robert England. The script was written by a collection of writers, the more noted ones being Frank Darabont and Wes Craven, both who I think largely contributed to the success of the film. Not that the other two are bad by any means, it's just to their name they have less horror film credit. Directing wise Chuck Russel has an interesting take on how the dreams appear, unlike that typical misty facade he uses open sets and the synthetic pizza face Freddy look to contrast in lighting and set design.

The third film in the Nightmare franchise is not as scary as the first but does a lot better as a sequel than the actually sequel did. The dream gifts bring out an inalienable competency in the films which opt for a more action based dream sequence than the typical running-from-the-boogeyman-slasher-build-up. This one may be the deciding factor in your interest in this franchise, if you like this one you'll probably want to keep watching. If you didn't, however, than I'd stop now because this is the high point in the series. Still if you're going to see any of them, this is the one to view.  

A Nightmare on Elm Street Part 2: Freddy's Revenge (1985)

A Nightmare on Elm Street Part 2: Freddy's Revenge, returns to the the famous Elm Street house in the first one. Five years later a new teeanger, Jesse Walsh, has moved in with his family. Jesse, as so many, is struggling a bit with growing up, and has more issues now that Freddy Krueger is haunting him. Freddy is still angry about being one uped by Nancy, so in his attempts to solve his anger he decides to seek revenge, through Jesse. But have no fear, Jesse and his girlfriend Lisa find Nancy's diary, guiding them through the nightmares. I must say part 2 has flaws, to put it kindly. Between plot, character, and directing issues.

Manipulating the dream/reality complex proves to be to disorienting in this one as Jesse is in neither one nor the other. Freddy no longer is able to solely control the dreams of teenagers but as well as the physical elements around them. That first off breaks the dream barrier that was well constructed in the first film. And secondly, as I said before, it's hard to distinguish what's going on. A lot of Freddy's actions this time are not so much Freddy. He doesn't really toy with Jesse but rather uses him, He preforms a lot of Poltergeist tricks, i.e. setting the toaster oven on fire, making the birds go crazy (in truth the Walsh family has a good case for paranormal investigators). The ending is dull, the boiler scene leaves little to nothing to remember.

A rumor with this one is that the films contains gay subtext. I've heard those who see it and those who don't, in my opinion...yeah it's a little bit leaning that way. Jesse seems to be teetering on his sexuality bounds throughout the film. There's subtle clues (board game Probe in the closet anyone?) and there's the not so subtle clues, like Coach Schneider's death. But its not bad in anyway, in fact it gives more depth to a script that lacks any real meaning or connection. The Never Sleep Again documentary had interviews with the director and he mentioned not liking the first film, however, a lot of people DID like the first film. It seems more that he set out to make a quick fix horror film than anything that stems off Craven's first piece.

The second took a steep fall from the level the first one was on. It, in short, missed the point. A Nightmare on Elm Street is known for being an imaginative series, though I don't think that title got earned until the third film, this is still however lacking. I did like though that they managed to clear some confusion to the ending of the first film in this. It's not great, if anything watch it for Jesse's infamous man scream.

A Nightmare on Elm Street (1984)

After seeing the Never Sleep Again documentary around Halloween, which is a great documentary, for fans especially but really for anyone curious of film making and the early techniques with special effects, I became possessed with the thought of watching all seven Nightmare films (I decided to skip Freddy Vs Jason because I've seen it, and I'm just not in the mood to watch it again). I've seen a few before, but never the entire series. So I set out with the, surprisingly tedious, task of watching all seven films in chronological order.

To start at the beginning A Nightmare on Elm Street typically falls under the slasher film genre, though I'd argue that it doesn't truly earn that title until later in the franchise, the reason being that the film is a lot more imaginative in concept than say the Friday the 13th series, which is more of a full bodied slasher. The story starts out with Tina, a teenage girl who's having strange nightmares about a man, burnt from the head down, wearing a dirty green and red stripped sweater, a ragged hat, and a glove with knives for fingers. Tina becomes rattled by the dream when she feels there is something more to it than a typical night terror, which proves to be true one night when she dies in her dream and then dies in real life. From there it goes to her best friend, Nancy, as she tries to figure out who the man with the knives for fingernails is and what he wants, while ultimately trying to stay awake.

The film has a horror aspect that Wes Craven has always done well with, he connects it to real life. True the film has a more fantasy base than a reality but it lies in the inevitable fear that we must all sleep at some point. A vulnerability issues plays in this as in most people's cases when you sleep you are helpless. To add more depth Craven gives a disturbing background to the killer, Freddy Krueger, a child murder who escaped trial later to be burned by the incensed parents of Elm Street. I actually found out from the documentary, something which has always been a debate, is that Freddy is a child molester, but they don't come out and say it in the film for news related issues at the time. This discreetly presents itself in the sexual prowl Freddy has in scenes with Tina and Nancy. The famous one being where Nancy falls asleep in the bathtub and his glove comes up from the water in between her legs. It's hard for some to imagine Freddy as anything scary since he became a pop culture icon but in truth he was built to be a perturbing character, and the first film reminds us of that.


As far as quality goes I'll argue that this one is the best out of the seven (though Dream Master gives Craven a run for his money in directing, as well as for the the look for the film). The directing and writing for this is fairly obvious, so I wont linger too long but it's apparent what he intended out of the film, a sleepless night fueled by more than just jumps and scares, but with creative thought. Acting is fairly good here too, it's one of those horror movies that has a now a absurdly huge film star in it, Johnny Depp. Of course Glen doesn't compare to his more eccentric characters in which he's famous for but for a first time actor whose never, and I mean never, acted before he's pretty good in it. Heather Langenkemp is alright, having done a few movies in her career at that point and not succumbing to dumb gazes into the camera lens. Then there's John Saxon and Robert Englund, neither which I'll go into because Saxon is been in everything and he's just great, and I've believe I've made my love of Englund's acting clear in previous reviews. The special effects for the film are pretty good, in truth I prefer old school techniques like these as opposed to CGI which I can always tell they've used.

I'm sure this, basically, two paged love letter isn't obvious us enough that I have to say it flat out but I love A Nightmare on Elm Street. It's not only my favorite out of the franchise but one of my favorite horror films. But at the same time I pose caution to new viewers who've never seen the movie. Though it's not as bad as some it does show it's age a bit, so some scenes or concepts will appear as cheesy, and there are some that might not be as generous about the acting. Plus the ending, (not the very ending with the little girls) still fails to make sense. Either way it's sort of an essential see, Freddy Krueger is a household name and at the end of the day it's better than most slasher films and remakes today.

Boyfriend's with Fangs

Yay for Mondays, and I'm sick. As I'm sure how it was last week if anyone is reading this (still no followers) they could care less of my current state of health/life but I figure I'd inform anyways.

In all honesty you can't turn a corner without running into a vampire these days. Not literally of course but basically they are everywhere. Its not as big of a deal as people make it out to be, we go through this media vampire craze once a decade. Hopefully the next one will be held off for till 2020 due to the late release dates of the the Twilight movies, gag me. If you are a Twilight fan I'm disappointed to inform you that I will not be slurring Edward Cullen's name on this list anywhere. What is this weeks list may you ask? If you haven't guessed it my Top Five Favorite Vampire Movies.

#5 The Hamiiltons (2006)

This is part of the After Dark Horror Fest, the first year (the best year might I say), and my favorite out of the 8 films. A lot of people don't care for it in the sense that it's not lucid horror, it's subtle in it's approach. The gore is minimum and there isn't any moments where you blatantly scared, yet it's very disturbing by the portrayal of the dysfunctional family. Unfortunately though even listing it gives away a massive spoiler since you don't find out that they are vampires until the last ten minutes, sorry. But if there is anything to keep you going you still don't know what Lenny is.

#4 Near Dark (1987)

Cult horror film Near Dark is unique in the sense that it plays with very traditional vampire mythology (i.e. the sunlight burns, one bite can turn you, etc) but also changes it a bit with how to rid the disease entirely. Not to mention it's story following five vampires on the run, traveling across the desert in a RV, endows originality as well. The best scene is in the bar where Bill Paxton (love him in this) and Lance Henriksen brutally kill all the patrons, partially for food but mostly for fun.

#3 From Dusk Till Dawn (1996)

Quentin Tarantino's and Robert Rodriguez edition to the horror vampire films is this exalted movie. What I love most about it is how at first it appears to be a crime-drama/action movie about a pair of notorious crime brothers but randomly out of nowhere just becomes about survivors mission to kill all the vampires left in the bar. And honestly it comes out of nowhere. Tarantino's script, with Rodriguez directing, and a great cast; George Clooney, Juliet Lewis, Harvey Keitel, Tom Savini, and Danny Trejo.

#2 Let the Right One In (2008)

Let the Right One In is, IMO, one of the best vampire films ever made, and that goes beyond my personal taste. Basically I watch two types of film genre's mostly, horror and indie, and that goes without saying that those genres aren't always high in quality, therefor not all of my favorite movies are high in quality. Let the Right One In is the exception, the Swedish horror film is both scary and touching as it deals with Oskar growing up, as well as Eli. The later is the horror of the film as she can be both sweet and evil. She's no bigger than a twelve year old yet she kills grown men for food. Similar to the Hamiltons it's not in your face horror, in fact its more a character based story than it is a horror movie. But no less it is a vampire movie so it qualifies on my list.

#1 The Lost Boys (1987)

I don't really know how to convey The Lost Boys in a single paragraph. It's almost impossible to try but to basically touch on the main points it's funny, Corey Haim as the comic book nerd brother is the center of the humor. But so are the vampire hunting Frog Brothers, as well as Michael and Sam's grandfather. Kiefer Sutherland is an staggeringly great villain. Diane Wiest and Dee Wallace have always, for me, tied as best movie mom. It has traditional vampire mythology, really going back old school by including vampires not being able to be seen in the mirror and cold water burning. There's a fair amount of blood. And it doesn't, unlike some of that decade, horribly reek of bad 80's fashion. I love the Lost Boys, I believe it was the biggest contributor to the 80's vampire craze which makes sense because unlike some of the modern vampire movies today, it's actually good.

Honorable mentions. I'm not a huge vampire fan to tell you the truth, while I do love them and I've openly admitted I'm addicted to True Blood, as you may have gathered from the first list I'm more of a zombie whore than I am vampire slut. But I do have two others that didn't make the list. Underworld (2003) the vampires vs werewolves, or likens are they are called, movie that's got a lot of blood, and for you male fans Kate Beckinsale in a tight outfit. And 30 Days of Night (2007), beautifully bloody film that plays the hidden victims game.

If your reading post your own.