Sequels tend to be an inferior breed of movie, especially in the horror genre. However, sometimes, when you get the right mix of talent together, and especially getting the input of series creator Wes Craven, you can create one the most beloved films in the entire franchise. Freddy’s Revenge fell off-track with the ideas and mythos of Freddy Krueger, but this film, Dream Warriors, got it solidly back on track in stellar, awesome ways.
The last of the Elm Street kids are now at a psychiatric ward where Freddy Kruger (Robert Englund) haunts their dreams with unspeakable horrors. Their newest fellow patient is Kristen Parker (Patricia Arquette) who has the ability to pull others into her dreams. Their only hope is dream researcher and fellow survivor Nancy Thompson (Heather Langenkamp), who helps them battle the supernatural psycho on his own hellish turf.
From the beginning, you can see that this film is again embracing the atmosphere and surreal qualities of Craven’s original. It feels directly in synch on numerous levels. The opening dream sequence is very nerve-racking and visually captivating. The first ten minutes of this sequel is better than anything in all of Freddy’s Revenge. Overall, it features a great and imaginative collection of nightmare sequences that are all shot and lit in very interesting and moody ways to evoke mysterious and frightening feelings from an audience. This is also a greatly paced film balancing its attention amongst this ensemble cast exceptionally well, and moving the story forward tightly.
Bringing back Nancy was a stroke of genius, and it continues her story purposefully and smartly. She’s grown and matured to a point where she can truly help these troubled kids band together and fight Kruger and their own fears. Heather Langenkamp does a lot of great work reprising this role bringing confidence and compassion to Nancy. Teaming her with Patricia Arquette results in a strong pairing that work excellently off one another. Kristen grows stronger through Nancy, as does everyone, but she is clearly the highlight. Nancy fully passes the torch to Kristen in many ways, and Patricia Arquette does a truly standout acting job here. I love that this movie isn’t just about Nancy. It’s about all of these great, dimensional characters coming together to combat Krueger as a force to defeat him in grand fashion.
One of those notably great characters is Dr. Neil Gordon. There is a lot of heart and compassion in Craig Wasson’s performance. You can see how much Dr. Gordon cares for these kids, and even Nancy to an extent. I like that he has an arc of sorts here having his mind open to new possibilities, and growing into a stronger character when he deals with Donald Thompson. He becomes more than just a caring doctor. He becomes one that will fight for what he believes in. The subtle subplot with Sister Mary Helena helps evolve his character in clever ways so he can believe in more than just science to lay Freddy Krueger to rest.
Also returning is John Saxon as a much more down-and-out Donald Thompson. No longer a Police Lieutenant, he’s a drunkard security guard who did go into a downward spiral after the events of the first movie. It’s a stark contrast of a performance, but Saxon is such an incredible actor that he achieves it remarkably well. The progression of the character is handled with appropriate weight and integrity. This film takes its characters seriously and treats them with respect. Thus, it makes for a film with serious weight and integrity on the whole, which I really respect.
The rest of this young cast is absolutely superb. They embody each character’s distinct personalities with a great deal of dedication and talent. It’s a golden example of putting together a great ensemble cast for a horror movie. While each character has emotional weaknesses, they have greater strengths which are expertly bonded together to become the titular Dream Warriors. It’s also a great treat seeing a fairly young and slender Larry Fishburne as the upbeat and charismatic orderly Max. He is very charming showing great energy and enthusiasm.
Now, this film was where Freddy started to become a little lighter in tone and throwing out a few wisecracks. Even the low, deep voice is not consistently present, likely to accommodate that variation in tone. However, he’s still an effective, threatening villain due to Robert Englund’s performance. He still commands the frame, and has a great, imposing presence. While there seems to be less screentime for Freddy here, the fear of him permeates throughout the film, and the threat of him is almost omnipresent. The movie builds him up, and in a way, gives him more impact when he does strike. He is far more powerful than ever before, and that makes for much more elaborate dream sequences and scenarios. Dream Warriors also begins to unveil a little of his back story in regards to being the “son of a hundred maniacs,” which is great stuff.
With the imagination back in full force, the practical and visual effects shine through excellently. There is plenty of gore on display that is effectively designed to unnerve. The most memorable work, both in make-up and visual effects, are when Freddy uses Phillip’s own tendons to walk him to his death like a marionette, and the full-on Freddy serpent that attempts to eat Kristen early on. Even in the climax, we get some really good stop motion animation, and some all around solid visual effects composites. Where the previous sequel was very lacking in imaginative nightmares, this film is packed with them, and they all tie in perfectly with the story. They are all crafted with solid suspense and smart scares. I will grant that this film has more of a fun factor than the first, and that does require a little loosening of the horror tone. However, this movie still delivers on the horror and frightening visuals due largely to the excellent effects work, and the talent of director Chuck Russell.
We are also treated to a greatly shot film. The cinematographer uses subtle camera movements highlighting poignant moments, and the dream sequences all have great visual vibrancy. Shadowy blues are used for the more haunting or mysterious scenes, and fiery reds are utilized when in the depths of Freddy’s surreal boiler room. The look of Dream Warriors is not as dark and frightening as the first film, but instead, uses visual atmosphere to great effect. Director Chuck Russell really approached this film seriously, not deteriorating it into silly, indulgent territory, and how it is photographed entirely reflects that intention.
Dream Warriors also features some great music, starting with the score from Angelo Badalamenti. He works in the Charles Bernstein theme very well, and builds a great atmosphere beyond that. He reflects the tone of dramatic weight and chilling horror with exceptional skill. It is such a damn good horror film score, as should be no surprise from David Lynch’s regular composer from Blue Velvet onward.
And of course, the classic songs from Dokken helped break the metal band into a wide audience. This film entirely exposed me to them between Into The Fire and the title track Dream Warriors. They are two excellent songs, and they complement this more MTV styled sequel that hits you with more vibrant and stylized visuals. You can definitely tell that Dokken was involved early on as Taryn is wearing one of their T-shirts in her first scene. Of course, there songs are a small part of the movie, and it is Badalamenti’s score that drives the atmosphere and weight of the picture.
This sequel is the proper follow-up to the original. Beyond just bringing back Nancy and her father, this just builds upon the original core ideas, and progresses them into a very exciting new place. Nancy learned how to overcome Freddy in the first movie, but now, she teaches others how to fight him with their own set of strengths. Some do parish, but others live to fight in another movie. Wes Craven did early drafts of the script, and thus, had some creative input on this sequel. Regardless of how much or little of his ideas made it there, I think his presence is still felt. It is a smartly written film with a great cast of stellar young talents, and it still delivers on the scares and horror aspects. Certainly none of the sequels measure up on a pure horror movie level to the original, but in terms of doing what a sequel should do, A Nightmare On Elm Street 3: Dream Warriors does exactly that. It expands the ideas and universe to have a fuller, more imaginative experience that entertains in new ways while still being respectful of where it came from. This is an undeniable classic to franchise fans, and is certainly one of the most well loved slashers of all time.
Man of Steel was my most anticipated film of the year. Not for an instant did I doubt it from any piece of marketing that came out. Each trailer and TV spot just got increasingly better raising my excitement for this more and more. Everything kept giving me hope for an amazing film experience. I know there’s a full spectrum of opinions out there right now, but take it from someone who grew up on Christopher Reeve as Superman, whose main inspiration in life has been Christopher Reeve, from some who loved Smallville, and feels Superman is the most epic and emotionally powerful superhero of all time – I really liked this movie A LOT! There’s plenty to get into here, and you can count on zero spoilers.
On the planet Krypton, renowned scientist Jor-El (Russell Crowe) discovers the hope for his seemingly doomed society in his newborn son Kal-El, but it is nearly thwarted by an attempted insurrection by General Zod (Michael Shannon), who is later sentenced to the Phantom Zone before the planet’s demise. Years later, on Earth, a young boy learns that he has extraordinary powers and is not of this Earth. As a young man, Clark Kent (Henry Cavill) journeys to discover where he came from and what he was sent here to do. But the hero in him must emerge if he is to save the world from annihilation by the now freed Zod and become the symbol of hope for all mankind.
Okay, I really, really enjoyed this movie, but I just want to get my one big critique out of the way right up front. It’s nothing damaging, just a structural issue. The film does follow a linear storytelling structure except for all of the scenes of Clark growing up, and everything with Kevin Costner as Jonathan Kent, who does a fine, heartfelt job here. These scenes are all very good, but I really think the film needed for us to go on that journey with Clark instead of flashbacking to isolated moments in his upbringing. I didn’t feel as much build up as I wanted to with Clark discovering his origins and donning the costume. We don’t get to see the linear development of Clark struggling through the pain, the adversity, the fear, and the doubt in his youth to see how he really overcomes and grows stronger through that. If there’s any one major flaw with this film, it’s simply that. It worked wonderfully in Batman Begins because we still saw Bruce Wayne develop and find his way in the world as an adult before dedicating himself to becoming Batman. Here, it feels a little short on that emotional journey and impact, and the film would feel a little stronger if that played out linearly instead of through flashbacks. Clark dons the Superman costume within the first, probably, thirty-five minutes of the movie.
Of course, I suppose the main question for everyone is with Henry Cavill. By no doubt, the film lives or dies by his performance. For me, he does a great job. He gives us a grounded portrayal that feels real and genuine. The somewhat familiar Clark Kent secret identity is not fleshed out until the end, and so, it is a story of Clark deciding what kind of man he wants to be. Cavill does embody an honest sense of hope, and has a strong physical presence. He trained extremely hard to achieve this physique, and it makes all the difference when you see him walking down the street in that suit. He just exudes power. When he is not being Superman, he feels very grounded and honest. He stays true to Clark’s Kansas farm boy roots being a man of morality and admirable strength of character. Clark is developing throughout the film, and continues to push his limits of what he can do, not just in terms of powers but in terms of determination. Superman is a hero who never gives up regardless of the odds, and here, the odds are tremendously against him. Yet, through hell and back, Cavill’s Superman shows us an icon of power that can inspire others to greater heights than ever imagined. While he doesn’t usurp Christopher Reeve’s inspiring magic, this feels like a Superman for a modern era that still has potential for further development in the already greenlit sequel. I feel Henry Cavill is a great successor to the mantle of the Last Son of Krypton, and he gives us plenty of humanity that shines through on the screen.
And this film is going to challenge many people on their long held preconceptions of the traditional Superman mythos. I’m sure there will be some that are resistant to this approach, but it ultimately laid my apprehensions to rest. The relationship with Lois Lane is built up very differently as she is closely associated with Clark / Superman throughout the film, and they develop a great, emotionally intimate connection. Amy Adams does a wonderful job as Lois Lane, and what she and Cavill have together is purely stunning. There’s an honest depth of emotion and understanding between them that shines through beautifully. Lois is not a damsel in distress either. Yes, she gets into perilous situations, but she is an active part of this story and plot. She’s very integral to stopping Zod’s genocide of humanity. Because she becomes so closely tied to Superman, she remains relevant to everything that’s happening. Of course, most pertinent of all, we see her as a dogged yet relatable journalist. Adams swirls a lot of different qualities into Lois from her determination as a reporter to her compassion and strength. She was a pleasure to witness here, and I think she also brings this character into a grounded, modern age that still remains true to the core, classic aspects of Lois Lane.
Having no easy shoes to fill himself, Michael Shannon takes General Zod and runs with him in his own way. There’s absolutely no catering to fan service here. He’s built up as his own character through Shannon’s awesome portrayal. He’s a bonafide bad ass villain bred as a warrior to protect Krypton at any cost, and he’s given solid depth. You understand what he’s doing, and why he’s doing it. Everything Zod does is for the sake of the people of Krypton, but he is a megalomaniacal, genocidal madman willing to eradicate our planet to fulfill his inherent purpose. This is no weak or generic adversary. Shannon has great presence that really commands your undivided attention, and he delivers a chilling General Zod that can be frightening by his sheer mercilessness. This is a Zod who’s going to kill everyone in his path without a moment’s hesitation, and that’s just awesome.
There’s a great supporting cast here, but in short, here are the heavy hitters. Laurence Fishburne is a damn solid Perry White. I know there are people bothered by the classic character’s change in race, but Fishburne is a tremendously awesome actor who delivers the goods with strength, nuance, and passion. Diane Lane is a lovely Martha Kent bringing a subtle, tender touch at the right moments in Clark’s story. Antje Traue portrays Zod’s second-in-command Faora-Ul fantastically. She’s extremely imposing and lethal. Anyone who thought this was just Ursa revamped, don’t do that. She’s not given as much development as Zod, but she’s a hardcore ass kicking machine. Beyond that, there’s just a lot of really quality performances throughout this film that does what a supporting cast is meant to do – build a solid foundation for the leads to springboard off of and launch the film into the stratosphere.
And indeed, lest I forget, we get Russell Crowe portraying the great Jor-El. I found his performance quite admirable with a unique sophistication, compassion, and depth. The real Jor-El is seen only on Krypton at the start, and it’s great seeing Crowe doing some action oriented work alongside some inspiring emotional beats. Later on, we see Jor-El as merely a projection through Kryptonian technology, and there is indeed still that strength and emotion present when meeting with Kal-El or confronting Zod. Yet, since he also works as sort of a computer program, there’s a more clinical portrayal of him in those instances where analytical guidance is needed. While I don’t wish to draw comparisons for my own sake, I know people are interested in the comparison to Marlon Brando. I do feel Brando wins in this situation. I think Crowe is an amazing actor demonstrating his best performance in what I consider Michael Mann’s best film, The Insider. However, Brando will always stand as one of the finest, most powerful actors of all time when he was in his prime. Crowe’s Jor-El is more fallible and vulnerable, by design, where Brando’s was inspirational and infallible through and through. For this Jor-El, Crowe hits it right on the mark, and I wouldn’t ask for him to change a thing.
Man of Steel also features plenty of action, and the more we get, the bigger and badder it gets. It just builds and builds to flat out epic proportions! We get moments where Superman has to push himself so hard to destroy Zod’s terra-forming machine that it becomes pure epic Superman awesomeness. Earlier on, there are some brutal knock down, drag out fights between the Kryptonian soldiers and Superman. While it almost seems futile for beings of seemingly equal strength and invulnerability to just keep pummeling one another, it generally works very satisfactorily. What’s more impressive is when Faora is using her super strength and speed to just blitz through a dozen soldiers at a time. This is all the kind of stuff Superman II couldn’t do because of the limitations of effects at the time, but this delivers in full throttle mode.
And I’m sorry, but The Avengers be damned with this climax. Superman versus Zod is the epic throwdown of the decade! They beat the living hell out of one another, smashing up Metropolis from top to bottom with full on ferocity. While some of the CGI can get to appearing somewhat obvious at some times, you knew this was going to be a CGI-heavy affair from the start to achieve extremely fantastical feats. So, aside from those small moments, this is some stunning and awesome digital effects work! It integrates so beautifully and realistically with the grounded, slightly gritty feel of the film in my eyes. The design of Krypton is very alien and somewhat bleak, but still stunning and enveloping.
And Zack Snyder has well proved he is a brilliant visual director. I’m a big fan of the Watchmen movie he made, and it’s amazing how much his visual style shifted for the material here. Indeed, I think the Christopher Nolan touch as a producer influenced that, but this is indeed Snyder’s film. Director of photography Amir Mokri has clearly not done anything that would suggest a film of this visual depth and emotion, but he does a remarkable job realizing Snyder’s vision. And again, that translates fully into the visual effects on every level. Every moment reflects a film of epic scope in terms of size and emotion.
By no doubt, the score by master composer Hans Zimmer is perfect for this movie. Yet again, separating this film from that iconic John Williams theme wasn’t easy for even Zimmer, but he honed his talent and found the sound for Man of Steel. His main theme has weight and emotion creating a driving rhythm from twelve of the world’s best drummers. When the scene is rousing and building towards something big and drama, the score is just powerful. Still, he has a touching piano version of that theme which really plucks the heartstrings in the more tender, lower key moments. It’s a stunning piece of work he crafted here, and this is a score that I will treasure to own right alongside that original John Williams score from the 1978 film. Both work on the right epic and inspirational levels for the types of the films they accompanied, and I love them both!
Man of Steel does feature a certain amount of depth that I felt was very good. Clark finding his purpose and learning who he wants to be has very apt and meaningful. Although, I do feel there was one missed moment for a little more character development and reflection. After learning his origins and having a discussion with Lois about Jonathan Kent, Clark returns home, and shortly thereafter, Zod’s message is transmitted around the world forcing that plot forward. I feel a scene or two of reflection and development right before that plot is introduced would have been perfect. It would’ve allowed Clark’s journey of discovery to settle in more, and understand where his mindset is at this point in time before being propelled into the public eye. We do get a number of very good introspective scenes following this in regards to Zod’s ultimatum for Kal-El to reveal himself, but a short lull would’ve felt right to me. But that’s just me.
Of course, once Zod arrives in Earth’s orbit, the film just propels forward at a very consistent pace. It’s not break neck, but it certainly doesn’t slow down much for character building. We do get moments of emotion, passion, and insight into Clark, Lois, and Zod at certain points. Still, I feel that there is room for further development in a Man of Steel sequel. I think there’s still much to explore about this Superman, and an even further distance for him to mature and grow. The foundation is strongly and solidly laid out here, and director Zack Snyder and screenwriter David Goyer can launch everything into a even vaster and deeper place next time.
This is the best film of the year for me by a long shot! Man of Steel might show some room for improvement, but it delivers on so many epic and powerful levels that I give this a wholehearted recommendation. If you are a Superman fan willing to embrace a fresh approach that still carries on the spirit of everything that encapsulates the greatest superhero of all time, this is your film to see. I have no problem with the redesigned suit now that I see it in full bombastic action, and this film has plenty of inspiring imagery. While we came to believe a long time ago that a man could fly, today, we can believe that Superman can once again live and thrive on the big screen once again. My hope is restored in full.