In the early 2000s, Sylvester Stallone was struggling to rebuild himself from some of his cheesy action movies of the 90s, and these efforts didn’t all meet with much success. Get Carter is a remake of a 1971 film of the same name starring Michael Caine in the title role, and this remake was received with negative criticism and a poor box office take. However, I saw this film on opening weekend, and I have very much liked it ever since. Having still not seen the original movie, I imagine I have the ability to view it much more objectively. Still, almost any movie promising Sylvester Stallone in a fist fight with Mickey Rourke and a hilarious John C. McGinley is pretty cool to begin with, but I honestly feel the film has a lot of worthwhile merit in many regards.
His name is Jack Carter, and you don’t want to know him. When it’s your time to settle your debts, you pay what you owe, or Carter will make you pay. While working for the mob in Las Vegas, Carter (Sylvester Stallone) learns that his brother has died, and returns home to Seattle in order to learns the how’s and why’s. His brother left behind a wife, Gloria (Miranda Richardson), and a teenage daughter, Doreen (Rachel Leigh Cook), which Jack feels he must now take care of since he was not around when it mattered most. Though, when digging into the death of his brother, Jack comes to suspect that is was no accident, and that someone has to pay up.
Now, what even some of the middle of the road reviews gave credit to was that Stallone is solid as Jack Carter, and I enthusiastically agree. I really like that Jack is a guy who carries a weight of regret with him to where he has this post-facto sense of responsibility. He might be a guy who beats people up for a crime syndicate, but there’s a certain moral compass to Jack which Stallone grasps onto perfectly. There’s a lot of subtlety to his performance showing the superb reversal on the over-the-top action hero roles of Judge Dredd or Demolition Man. He brings with him a low key presence of intimidation, but still finds those moments of clever signature Stallone charm and wit. Jack Carter has a warm heart and compassion for those he cares about, and this comes so very naturally to Stallone. There’s such a great depth of dimension to what he does here. Sly gives us a complex character who intensifies the emotional drive of the film. It’s also amazing seeing how bulked up Stallone got for this movie. He’s larger than ever, and it really works for Jack’s tough, bad ass presence. Yet, it is that softer side of Jack Carter that really impresses as he shows a lot of pain after a certain point really hitting you deep in the heart, and that translates into a venomous vengeful determination in the film’s third act. It’s an awesome, compelling performance by Sylvester Stallone that amazingly reminds you that he can be a stunning, complex actor. I think it’s one of his best performances since First Blood.
A lot of the depth of heart and substance is carried on through Miranda Richardson and Rachel Leigh Cook. Richardson is great as Gloria who is in this constant uncertainty about Jack. At times she can confide in him about her problems with Doreen, but at other times, can condemn Jack for bringing further trouble upon them and being absent from their lives until Richie died. Richardson has pitch perfect chemistry with Stallone standing strong on her own while showing the emotional turmoil inside. Meanwhile, Cook very easily endears herself to Jack and an audience with some sad sweetness and sympathetic charm. As certain things are revealed, and far more tragic layers are peeled back from Doreen, Cook is really able to demonstrate the soul of her heartbreaking talent. It really ends up being the pulsating emotional core of this film.
I really like the scenes between Stallone and Mickey Rourke. These are two actors who genuinely seem like they enjoyed working off each other. They’ve got the right rhythm and chemistry that these two characters should have being old acquaintances and all. Rourke has the right charisma and air of sleaze as Cyrus Paice which makes him very entertaining to watch, but also, a real piece of scum that you want to see get busted up by the end. Rourke and Stallone are two buffed up bulls ready to lock horns regularly, and when they do finally trade punches, it’s a straight up bad ass brawl.
Anyone who loves John C. McGinley’s comedy work would also love him here. He plays Con McCarty, an associate of Jack’s in the Las Vegas syndicate, and I swear he ad-libbed the majority of his dialogue. It is just so brilliantly quick witted, off the cuff, and hilarious that he’s an utter, endless joy. It’s a performance like this which shows that this is a film that is interested in balancing the heavyweight drama with sharp beats of levity. And Alan Cumming is quite good as the geeky wet rag dot-com millionaire of Jeremy Kinnear who has gotten in way too damn deep with seedy individuals. He is a pleasure to watch in this role as Stallone looms over him with his brute intimidation. Of course, Michael Caine does a fine job in a somewhat small role as Richie’s now former employer, and Caine and Stallone have some solid scenes together. Apparently, even Caine endorsed Stallone as a respectable successor to his original role, and including him in this cast was a really nice touch.
I really adore the look of this film from director of photography Mauro Fiore. It’s soaked in this somber tone of overcast gloom of blues and greens that really absorb you into the tone of the movie. Director Stephen Kay really pushed hard to have this filmed in Seattle, and the beauty of the rain soaked city makes the film feel a little more unique. There’s also some unconventional style to Get Carter that might not work for many films, but all of the artistic flourishes really meld together beautifully, in my opinion. The strategic slow motion beats add a sense of grace to the photography, and Fiore moves the camera extremely competently with plenty of steadicam. I like that when Jack’s whole world turns upside down so does the camera accentuating a particularly unique filmmaking style that I really like here. There is some stylish editing with a few jumpy cuts, flash frames, and speed changes. I could see how some would find that irritating, but I really got absorbed into the mindset of this movie. Stephen Kay uses these stylistic choices to slip you into a character’s perception such as Jack’s world fracturing. Get Carter was edited by Academy Award winner Jerry Greenberg who also edited The French Connection, Apocalypse Now, Kramer vs. Kramer, and Scarface. Here, he superbly executes Stephen Kay’s vision right from the opening credits sequence onward.
There is a great, moody collection of music here in addition to Tyler Bates’ unique and stylish score. The original theme for the 1971 film by Roy Budd is utilized and remixed for this remake, and it is a beautiful composition that just tingles my senses. There are some techno tracks infusing some dance club style vibes into the movie. I particularly love the ethereal Moby track during the funeral scene. All of this music creates a very soulful or energized originality to this film that melds well with its visual stylings.
There is some really well put together action including a couple of very smart, tense car chases. Action directors who love their shaky cam could learn something from this film. Stephen Kay does make use of some unsteady photography and tight framing, but the editing is properly paced so to not confuse an audience. There are quick cuts, but because the lighting is clear, the compositions are just right using good angles, it all works. The latter car chase is really great, and it has a really cool stunt crash at the end. Yet, while there is exciting action, this film maintains that emotional and character based focus as Jack Carter delves further into the seedy underbelly of Seattle.
When Jack goes into full-on revenge mode, this movie gets dead-on bad ass. The grit really surfaces in the visual style and Stallone’s performance. Everything gets pretty dark and intense as Jack deals out his sense of personal justice in violent, sometimes lethal ways. This is a revenge movie driven by a lot of emotional depth and substance. Jack is going to clean out the trash, but the mending of emotional wounds is just as important to him, if not more so. It’s all wrapped up in his personal sense of obligation to the extended family he’s neglected, and a need to prove to himself and others that he can be a better man than his history has shown. There’s also a subplot where Jack Carter is involved with the syndicate boss’ woman back in Vegas, and this runs through the film a little. It’s another emotional tether that puts stress upon Jack especially when Con is sent to “take care of business” with much intended finality. Most revenge movies are just about the violent retribution, but this movie really delves you deeply into the hearts and souls of its sympathetic characters.
Get Carter is damn good, in my opinion, because it does take the time to develop its character and give you a dimensionality to connect with. You feel Jack’s pain and his need to put things right, and your sympathy easily flows for Doreen as the film progresses. Stephen Kay did do a really exceptional job with making these characters feel poignant, and have the consequences of everyone’s actions feel like they carry the weight of the world. This is really the kind of revenge thriller that truly captivates me because it’s not just gunning people down for ninety minutes, which does have its satisfying qualities. The substance of everything here saturates the film, and Stallone carries it all so amazingly well. The ending might have used a little more weight and veracity, but the payoff is satisfying regardless. I highly recommend this remake of Get Carter. If you’re a Stallone fan, like me, you should definitely give this a watch.
Michael Mann is indeed one of my favorite filmmakers of all time. Without him, I would not be the independent filmmaker that I am today dabbling in the neo noir world of crime thrillers. For Mann, his theatrical career began here with this sleek and stylish picture headed up by an incredible performance from James Caan. The cinematic visuals of Miami Vice were forged here, and the foundations of the thematic material that would be refined in Heat and Collateral were laid with Thief. While Mann had directed and co-written the television movie The Jericho Mile before this, featuring some very familiar traits, Thief was the start of every signature quality that Mann is best known for, and it is a film that should be given its proper due respect and recognition.
James Caan plays Frank, a professional jewel thief who wants to marry Jessie (Tuesday Weld) and settle down into a normal life. In order to achieve his dream of a family, Frank–who is used to working solo–has to align himself with a crime boss named Leo (Robert Prosky), who will help him gain the money he needs to begin his domestic life. Frank plans to retire after the heist, yet he finds himself indebted to Leo and he struggles to break free.
I was captivated all over again by Thief just from the beginning as it enveloped me in the sheen of its rain soaked Chicago nighttime world, and the sleek, stylish score by Tangerine Dream. This was the first film of Mann’s I ever saw, and I was blown away by it well over a decade ago. One of the most lasting impressions is indeed Mann’s neo noir cinematic style. Everything he does here really defined so much of the 80’s with the synthesizer score and the masterful visual storytelling. When you see the sleek and rock solid camera work in Thief, it’s sad to see how horribly Mann has embraced the incessant handheld camera work as seen in Public Enemies. The compositions here are dead-on-the-mark, and shots like pushing in through the drilled hole in the safe early on just show the enveloping visual brilliance of Mann. He knew how to suck you into this world, and keep you hooked in for the long haul. Thief was shot by first time cinematographer Donald Thorin who would go on to lens Purple Rain, The Golden Child, Midnight Run, and Scent of a Woman, to name a few. There was clearly no one better for him to be under the direction of than Michael Mann, and Thorin did a stunning job shooting Thief.
This is undeniably James Caan’s movie through and through. It is no mystery why this is Caan’s personal favorite performance of his. He is simply excellent, intense, and touchingly dimensional here. Frank is a man who’s had a lot of bad turns in his life spending a good chunk of it in prison, and is now struggling to reach a blissful goal of a happy home and family. He is a definite tough guy able to be a threatening presence, and has the charismatic bravado to back it all up. Frank’s not much of a subtle individual, but he’s a man who feels he has no time to dance around the subject. Every word he speaks is carefully selected and clearly conveyed which makes him appear well-spoken even if he’s not the best educated man. Caan injects the right amount of confidence into the role to mask Frank’s occasional naivety. Caan’s favorite scene is the highway oasis diner scene where Frank details his life, hardships, and dreams to Jessie. This scene shows the subtle emotional qualities of Frank to see the better man underneath all the bullheaded machismo, and this scene strips him down to bear his heart to her. Frank shows that he is charming, sweet, and very human. Despite the hardened criminal life he has had, all he wants is a simple, happy life, and that desire is much of what endears him to an audience. However, in the end, he must return to his base, primal convict mindset to survive.
Tuesday Weld holds up very strongly opposite Caan with both an enduring spirit and a gentle tenderness. Like Frank, Jessie is also a tough person who really now reveals in an ordinary life, and what begins as a very combative relationship soon warms up to very heartfelt levels. There’s a solidly genuine chemistry between Weld and Caan that brings a lot of heart and depth into this very gritty, hard edged crime thriller. Their final parting scene is powerful on so many heartbreaking levels, and shows, definitively, that Tuesday Weld was no lightweight acting talent.
There is a startling turn that Robert Prosky achieves as Leo that solidifies him as one of the best mob figures in cinema for me. For so much of the film, he’s a fatherly figure giving Frank every means to achieve his goals, and being nothing but an agreeable, upbeat, friendly facilitator. He gives Frank high line scores, an adopted child, a home, and much more. The problem is that once Frank tries to sever ties with Leo, he’s given a very sobering reality check – everything Frank now has is essentially owned through Leo, and he can rip it all away. This scene is where Prosky transforms into a cold, heartless, ruthless man who will have Frank’s friends killed, prostitute his wife on the street, and put Frank completely into indefinite servitude. Prosky becomes flat out chilling in this scene as a man you utterly do not want to cross, but the price for having this comfortable life comes at too high a cost for Frank. So, he has no choice but to retaliate by burning it all down.
Michael Mann did a very clever thing in casting the supporting cops and criminals, and thus, made it very authentic to Chicago. All of the cops were cast with ex-convicts including John Santucci who was the basis for Frank, and all of the criminals were cast with actual Chicago police officers such as Dennis Farina in his first on-screen role. This way, we got very open and honest portrayals of the not-so-straight-and-narrow Chicago police of the time. This sort of close knit connection to the authenticity of these sides of the law carry over into the intricacies of the heists. None of the heists here are sensationalized or simplified. We see the complex and highly involved process that Frank and his crew have to go through to take a single score, and this is achieved with great skill. The depth of detail that Mann shows us allows for the audience to appreciate the triumph of the score. Furthermore, all of the equipment featured was accurate to how they were used in the film, and considering the film is based on a novel by a convicted thief, none of this should be too surprising. However, it demonstrates the intense attention to detail that Michael Mann consistently put into every project he took on, and that has always impressed me and has really set Mann’s work apart from all others. Lesser filmmakers would gloss over the details and sensationalize the story, but the grit is in the details.
There is also a good but small performance by Willie Nelson who portrays a mentor of Frank’s that is dying behind prison bars. Caan and Nelson have only one real scene together, but it really brings a lot of the life and philosophy of these criminal characters to the forefront. And Thief really is built so much on personal philosophies such as lie to no one, be the boss of your body, or live your life on your own terms. This all feeds into how Frank navigates this film. He divulges everything to Jessie because his previous marriage fell apart due to his lies. He is hesitant with going into business with Leo because he enjoys answering to no one and calling his own shots, and is ultimately why he makes the radical decisions he makes at the end of the film’s second act.
Frank’s actions in the third act might seem like those of a young man of heated passion, as they are somewhat impulsive and absolute, but they fit Frank’s “the boss of my own body” attitude. He will not allow the terms of his existence to be dictated by another, and if that is the cost of having all the things he desires, then he’d sooner see it all turned to ashes. Frank returns to that prison attitude of “nothing means nothing,” and it frees him to destroy it all and go after Leo without any attachments. This is clearly a precursor to the philosophy of Neil McCauley in Heat that, “Allow nothing to be in your life that you cannot walk out on in thirty seconds flat if you spot the heat around the corner.” All of this makes for one awesome, amazing finale that just certifies James Caan as a bad ass. How Frank’s stalking through Leo’s house unfolds, with almost dead silence, is perfectly executed. The quiet tension just unnerves you, and builds up that tingling anticipation until all hell breaks loose. From there, it’s all scored with this excellent track from Tangerine Dream that I love. And overall, their score is innovative and captivating. It all reflects Michael Mann’s signature vibe perfectly with sleekness and edge.
Thief is an intensely exciting movie with a very grounded feeling. Seeing Mann’s visual style unfold here is amazing, and James Caan puts on an excellent, versatile performance that enhances every compelling element of the movie. It’s stunning to see how quickly Mann evolved in his career where so many of the ideas and visual storytelling here would be refined and matured within three years for the launch of Miami Vice, and the major leap forward taken in 1986 with Manhunter. Whether you are a Mann or Caan fan, this is a film you cannot afford to overlook. No one makes crime thrillers quite like Mann did as he made sure every quality and acting talent was superb and pitch perfect while always delving into the humanity of the story. With Mann it’s always about the characters, and you see the depth of that care put into this movie. If you want an even further in-depth look at the films of Michael Mann, I immensely endorse the video essay Zen Pulp: The World of Michael Mann. It is remarkably insightful that really inspires me.
Every so often a movie comes around that just looks interesting, but you are not prepared for just how stunning it truly is. It just seems like another good thriller that might be nicely satisfying, but this movie is far and beyond such meager expectations. Prisoners attracted me because I really love Hugh Jackman. He has such a genuine depth of humanity and intense screen presence in so much of what he does, but even then, I didn’t expect a performance and a film on this level of masterful brilliance.
How far would you go to protect your family? Keller Dover (Hugh Jackman) is facing every parent’s worst nightmare. His six-year-old daughter, Anna, is missing, together with her young friend, Joy, and as minutes turn to hours, panic sets in. The only lead is a dilapidated RV that had earlier been parked on their street. Heading the investigation, Detective Loki (Jake Gyllenhaal) arrests its driver, Alex Jones (Paul Dano), but a lack of evidence forces his release. As the police pursue multiple leads and pressure mounts, knowing his child’s life is at stake the frantic Dover decides he has no choice but to take matters into his own hands. But just how far will this desperate father go to protect his family?
Brought to us by director Denis Villeneuve, Prisoners is undoubtedly the best film I have seen all year. A tight, taut, suspenseful and engrossing thriller that hits powerful emotional chords everywhere. If you thought the trailers gave too much away, you are very mistaken. There is so much more substance and plot nuances that a trailer could never accurately convey. Surely, I will not spoil anything for you, but the mystery of this film is cunningly devised with intelligent turns and a remarkable progression. There are many fine layers of character, emotion, and story here that interweave perfectly and beautifully. We are treated to so many well fleshed out characters inhabiting a story of very intense emotions and radical, unsettling violent actions with nerve racking consequences. You feel every ounce of emotion from these characters, and Villeneuve’s direction shines gloriously in every detail. I also love that nothing in this film is a red herring. Every lead, every piece of evidence, every detail adds to the puzzle which is brilliantly plotted out from a stunningly well written screenplay by Aaron Guzikowski. Prisoners is meticulously mapped out every step of the way, and Villeneuve utilizes all of that emotion and strategic, deliberate pacing to absorb you into the movie.
The cinematographer for this film was Roger Deakins, who also shot Skyfall which was immaculate work, and he does not falter here at all. I was constantly struck by the quality of the compositions as they all hold so much weight. Villeneuve has this shot and edited in a very conservative manner so that the substance of every frame soaks into the viewer so deeply. Early on, I love how fairly brief scenes are played out in wide masters to give you a dramatic and stoic impact on the story. The inspired cinematography constantly envelopes the screen translating the dramatic power of Villeneuve’s cinematic narrative in such exquisite detail and poignancy. The quality of the visuals, how the film is shot, and the style of editing constantly made me feel like this was a very 1970’s thriller with a modern polish. Even the Earth toned color palette reflects that, and the autumn / winter setting adds to the grim, somber atmosphere. Every technical quality of this movie is used to suck you into the depth of what transpires. Even the score is immensely effective, yet subtle. Everything just works with such precision to excellent effect.
I honestly believe that Hugh Jackman could possibly earn himself some accolades come awards season time. My faith in his talent has been paid off time and again, and I love seeing him in these gritty, hard hitting dramatic films. Keller Dover is a man who believes in preparing for the worst while praying for the best, and so, he is used to doing everything possible to protect his family from all dangers. When he feels he must take matters into his own hands, the emotional intensity of the film escalates drastically. Jackman is intensely powerful in this role pushing himself to that extra level that separates great from extraordinary. Pure, raw emotion pours out of him as Keller Dover struggles with doing the right thing for his daughter even though it is the worst, most unimaginable thing he’s ever done. The absolute conviction of what he believes he must do penetrates right through the screen right into your soul. This film constantly pushes this character into further emotionally and morally strained situations that challenge Jackman to deliver on higher and higher levels which he exceeds over and over again. This is why I love Hugh Jackman and why I was drawn to seeing this movie. He’s an incredibly relatable and engaging acting talent who pulls you in based on his depth of humanity, and that is gorgeously on display here in a masterfully crafted film.
Now, I haven’t seen Jake Gyllenhaal in anything since Donnie Darko, and it’s great seeing him in a mature, hard edge role. He is really solid as this vehemently dedicated cop who maintains a level head while remaining fully committed to this case. I love seeing how Detective Loki handles the strained, heated emotions of the Dovers and Birches, and how he manages everything with meticulous perceptiveness and a dogged mentality. It’s a wonderfully written character that empathizes with these hurting people and conveys his confidence with sincerity. Gyllenhaal is intensely compelling and intriguing to watch as the film progresses. From the moment he’s introduced, eating alone at a Chinese restaurant on Thanksgiving, he is complex and unique. I like the nuances added into his character such as the various small tattoos on his hands and neck. They give him a darker, grittier edge along with Gyllenhaal’s sort of dark aura. Yet, he is not a dark character, but is a riveting one that adds his own intensity to the narrative. This is also a marvelous performance that only becomes more fascinating and gripping at the film progresses.
The rest of the cast is equally as powerful. Mario Bello’s character of Grace Dover deals with this frightening tragedy of her abducted daughter by falling apart, relying on medication, and just becoming a mess. It’s a pure visceral deterioration of a person torn apart by fear and pain for a loved one. Terrence Howard is another actor I just love, and he delivers such vulnerability. The struggle Franklin Birch faces when Keller pulls him into the abduction and torture of Alex Jones is a perfectly human conflict. He wants his daughter back so badly, but almost can’t reconcile the morality of what he and Keller are doing to this man with the IQ of a ten year old. The dynamics between all of these characters and their passionate, pained emotions is magnificent to behold. Even Paul Dano makes you empathize so deeply for Alex. You are never certain whether he is responsible for anything at all, or that Keller is torturing a completely innocent man. The story twists around so beautifully wrapping everyone up in this complex tapestry that any truth is possible. Even more so, nothing is all that clean cut for any suspect, and no one is completely innocent. Everyone has something shameful, shady, or tragic which shows that these are real, textured, flawed people. Every character is written and performed with such substance and rawness that you can never take anything for granted or predict where this story will lead you.
I was constantly pleased with the sophistication of storytelling here. There were times I was a tad apprehensive that the pay-off of the mystery, or that the identity of the abductor would be spoiled too soon. Instead, it was another element of the puzzle being laid out carefully with surprising, unexpected, yet entirely purposeful turns. As I said, nothing is a swerve. You’re not lead down a frivolous path to a false lead. Everything introduced in this story is there for a substantial reason. The ultimate reveal is great allowing for everything to really fall into place, and put certain characters into further, tenser jeopardy. I loved how the final act unfolds. There’s real danger at hand, and nothing proceeds remotely like a cliché. This is a fresh, smart thriller that will captivate your attention for its entire 146 minute runtime. One would think that a deliberately paced thriller with that kind of runtime would lag somewhere or feel drawn out, but Prisoners makes amazingly solid use of every minute of screentime to progress every element of story and character to its ultimate, immensely satisfying and brilliant conclusion.
Denis Villeneuve has just come out of nowhere for me, and now, he has my undivided attention. Prisoners is absolutely perfect. There is not a single aspect of it for me to criticize, only praise. This is an incredible cast delivering amazingly powerful and raw performances in a rattling and haunting thriller. I have never stated in a review of a newly released movie that it is the best one I have seen all year because you never know what else could surprise you in the remainder of that year. However, I cannot imagine what else is possibly going to steal away that title from Prisoners because it is that stunningly impressive without a flaw in sight. Do yourself a great favor and see this movie and support it. I hope you are as enthralled with it as I was.
Many know Kathryn Bigelow from her Academy Award winning and nominated films of recent years. However, her earlier work features some stunning films that showcase a brilliant visionary style, and no other movie reflects that better than Strange Days. Released in my favorite year in film, 1995, it bombed at the box office, but gained quite a lot of praise. Roger Ebert even gave it a four out of four stars, and it was nominated for several Saturn Awards including Best Science Fiction Film with Bigelow winning for Best Director. Time has since allowed for this film to gain a wider appreciation from genre fans, and I’ve wanted to share mine with you for quite a while now. Strange Days is essentially the Blade Runner of the 1990’s, but even Blade Runner doesn’t do to me what Strange Days does.
It’s the eve of the millennium in Los Angeles, December 31, 1999. Lenny Nero (Ralph Fiennes) is an ex-cop turned street hustler who preys on human nature by dealing the drug of the future. A new technology, called “wire tripping,” allows for anyone to re-live actual life experiences tapping directly into the cerebral cortex for the ultimate escapist high. However, Lenny is soon tangled up in a deadly plot, alongside limousine driver and security specialist Mace (Angela Bassett), when a set of murderous and controversial wire trip recordings end up in his possession that could have radical implications upon the entire city. It’s an environment that will lead him deep into the danger zone when he falls into a maze filled with intrigue and betrayal, murder and conspiracy.
Kathryn Bigelow was married to James Cameron for a time, and even after their marriage ended, they remained regular collaborators. Cameron was a producer on this film, co-screenwriter, and an uncredited editor. I can definitely see his creative influence at work. It’s that real depth of humanity on display with all of these colorful characters, real penetrating emotion, exciting science fiction ideas, and the exciting energy of storytelling which harkens back to The Terminator. His creative fingerprints are clearly here, and they are wrapped up in Bigelow’s razor sharp pacing, incredible direction, and mind blowing visuals.
The look of the movie definitely has that dystopian vibe with a lot of grit, smoke, neon, and seedy locales. Yet, it doesn’t look depressing, but instead, it’s exciting and intense. The cinematography is just simply stunning, and it will escape me to no end how Batman Forever got nominated at the Oscars for Best Cinematography this year while Strange Days was entirely snubbed as well as The Usual Suspects, Seven, and Twelve Monkeys. All of those are vastly superior looking and shot films on every level, and Strange Days is really in a league all its own from the signature James Cameron blue tinge style to Bigelow’s really dynamic visual edge that absorbs us fully into this dark, vibrant, mind-twisting reality. The camera work is amazingly dynamic, intriguing, and inspired. It’s a visual feast that really embraces a kinetic energy without ever sacrificing artistic integrity. If you took Blade Runner and hyper-charged it with adrenalin and a riveting edge of flash, you would get Strange Days.
The movie jacks you into a wire trip from the start to clearly convey the language of the experience. People are buying these recordings to experience the forbidden pleasures in life like armed robbery or sexual desires. It’s an extremely tempting thing that gives you all the rush and excitement without consequence, but it’s entirely illegal forcing Lenny to be the king of this underground business. Thus, he comes into the center of two related criminal plots. The first involves a pair of corrupt cops, portrayed by William Fichtner and Vincent D’Onofrio, tracking down a damning wire trip recording that could erupt the entire city in violence and outrage. The second is someone who stalked, raped, and murdered a friend of Lenny’s, and now is focusing his sick and disturbing torment on Lenny himself. All of this melds together into a larger conspiracy that engulfs these characters into a powerful dramatic story that rips and tears at emotions with severe risks and consequences.
Now, I absolutely love Ralph Fiennes as Lenny Nero. He’s the real crux of this whole film energizing it with his slick charm and charisma. He’s a mesmerizing salesman selling fantasies with the sensation of pure, raw reality. Yet, he never comes across as sleazy. Fiennes makes Lenny very genuine in everything he does, and thus, he is the perfect unlikely hero with a yearning broken heart, a life of down and out black market seediness, and a real vulnerable quality to him. Ralph Fiennes is an incredible actor, and he makes this a very deeply human and emotionally vulnerable character that draws you completely into the film. Lenny Nero is not a man who views himself as a hero, but the frightening descent that he is caught up in forces him to take action, especially with his former love Faith, portrayed greatly by Juliette Lewis, at the center of it. Faith has fully fallen into the deep end of the sleaze as a rock singer hooked up with Michael Wincott’s wire trip addicted record label owner Philo Gant. Lenny desperately wants to win her back, or at least, pull her out of that deep end. As a side note, I really love the wardrobe of Lenny Nero. It’s very stylish and flashy with plenty of unique personality, much like Lenny himself.
Angela Bassett is absolutely bad ass here in a very gritty, powerful way. Mace is exceptionally tough not taking any crap from Lenny, who hustles and leeches favors off her when he’s down and out, and as a security specialist, she can back up every ounce of that attitude. Bassett exudes energy and strength in every frame, and intensifies every moment. I’ve always been impressed by Bassett’s mixture of tough exterior with a tender interior. She definitely brings that out in Mace with all the raw emotional power possible.
Now, you talk about Academy Award quality work, I honestly believe that both Bassett and Fiennes achieved that in this film. Had Strange Days not fallen under the radar, I believe it would have been heralded with that kind of reverence at the time. Both Bassett and Fiennes deliver stunning, deeply powerful performances, and the script fuses Lenny and Mace together in a very personal way born out of tragedy and heartbreak. Furthermore, the chemistry between Bassett and Fiennes is spectacular. They spark off amazingly whether it’s sharp wit and humor, vehement conviction, or deep emotional drama. They are an electrifying pair which forge a riveting gravitas around them, but also make it a fun ride with their great rhythm and heart.
This film is just filled with an array of exceptional acting talents putting forth their best. From Tom Sizemore to Juliette Lewis to William Fichtner to Vincent D’Onofrio to Michael Wincott, the supporting cast is bursting with charisma, awesomeness, and solidarity. Everyone is equally as compelling and vibrant creating a very electrifying ensemble. Under Kathryn Bigelow’s direction, everyone delivers a powerful and intensely memorable performance. Bigelow seems to very much favor Sizemore as he appeared in Blue Steel and Point Break with much smaller roles, but here, he’s given a very prominent role as Max, a friend of Lenny’s who is still on the police force that weaves himself tightly into this plot.
On top of having that mind-blowing, amazing cast, Bigelow delivers an exciting, riveting thriller. The mysteries are wonderfully interwoven with all the character dynamics, volatile social climate, and science fiction tech elements. There’s wickedly tight tension and heart-pounding excitement at every turn. The powder keg of Los Angeles is building towards an explosion, and the lethality of the situation only builds as forces converge. This is a movie that constantly pushes further and further along the razor’s edge of madness, suspense, and danger. Surely, there is action here handled with the riveting intensity that Bigelow demonstrated with Point Break, but saturated with larger doses of style and exhilaration, if that’s even imaginable. The two corrupt cops dousing Mace’s limo with gasoline and lighting it on fire forcing her to drive it into in the bay, and then, make a shotgun glass shattering escape to avoid drowning is superbly executed, as is everything here. This film is soaked in emotion and thrilling, edge of your seat suspense, but still finds those moments of pure entertainment to make it a greatly fun experience.
Surely, the odd aspect of the film is that it was released in 1995 and takes place in the year of 1999 featuring a very radical decline in society. It’s a very narrow jump into the future. However, I really do like that it uses that “end of the millennium” sort of craziness and chaos to enhance every aspect of the film. Strange Days also reflects a lot of early 90’s Los Angeles culture with the earthquakes, riots, and police brutality incidents, and so, it feels very encapsulating of what one could pessimistically feel the future of that Los Angeles could have been. People are packing assault rifles, cops are wearing tactical riot gear, and the entire city looks like it’s on the edge of all our war. This is the vibe and energy that Bigelow injects into the fiber of the film, and it really erupts in the film’s climax. Strange Days is more than just a cyberpunk thriller, it has real social commentary on the darkest parts of society with shocking consequences. The climax leaves me speechless. I really don’t have the words reserved to describe it. There is no easy road taken in this story, and nothing is handled lightly. This is a hard hitting, gritty, visceral film that holds nothing back on any level.
Fueling all of that is a stellar score by Graeme Revell and a very aggressive soundtrack of mid-1990s electronic, heavy metal, and edgy music. Every creative element of this movie is jacked into that kinetic, cyberpunk style that soars to magnificent heights. It’s a pure encapsulation of a stunning vision by Bigelow built on the foundation of a rock solid, stunningly intelligent screenplay by James Cameron and Jay Cocks.
Strange Days is a brilliant, incredible movie with a lot of strong thematic material, wickedly amazing performances, and a spectacular visual style. This is one of the best and most original movies I have ever seen. My mind was blown all over again watching it for this review. Kathryn Bigelow would not be nominated for an Academy Award until 2010, but the evidence of her shockingly amazing talent was evident in 1995 with Strange Days. This is a film that deserves vastly more exposure, credit, and accolades than it has received. Surely, Point Break fulfills every action film adrenalin rush satisfaction for me, but this is the remarkable, awe-inspiring film experience. This is surely, without a doubt, the far superior film of the two, but both deliver on every promise and exceed expectations every step of the way. My recommendation is that you must see this movie no matter what!
Yep, I could make a whole month out of reviewing Die Hard clones before even getting around to reviewing Die Hard. Seagal, Van Damme, Snipes, Ford, and every other action star under the sun got their turn to grapple with this formula. So, Thomas Ian Griffith got his chance as Detective Jack Wild in this film that spawned two sequels, neither of which starred Griffith, but let’s see how Crackerjack stacks up to the competition.
Chicago cop Jack Wild (Thomas Ian Griffith) reluctantly aggress to join his brother’s family for a vacation at the exclusive Panorama Springs Hotel, high in the glacier-capped Rocky Mountains. But when a team of mercenaries determined to hijack over $50 million in diamonds descend on the resort, Jack strikes back. Now, together with beautiful hotel guide K.C. (Nastassja Kinski), Jack must race against the clock to stop their calculating leader Ivan Getz (Christopher Plummer) from getting away and exploding the glacier above the hotel to cover his tracks.
The burnt out cop is a very familiar trope in action movies, but if you get an actor who can really flesh out the character, it all works nicely. Thomas Ian Griffith again proves his quality as an actor showing Detective Wild to be relatable and interesting. Being a bit unhinged, he charges headlong into danger as if he does have nothing to lose, and that’s how he feels after his wife and kids were killed. When he’s dragged up to the ski resort, he’s restless and still potentially volatile, but after making a connection with Katia, you see him soften and begin to turn a corner. Griffith and Nastassja Kinski have some good, touching chemistry that translates really well on screen. The charisma he naturally brings into the film really enhances the clichéd material in the script, and makes Wild a dimensional and enjoyable character to follow.
The film really does a lot to build up the emotional investment in Jack Wild’s fractured situation. The flashbacks to the last moments of his family’s life are touching, and director Michael Mazo really takes the time for those emotions to sink in. The reveal of who actually killed his family is a rather unneeded additional motivation for Wild, but I’m hardly going to hold that against the movie. It’s not striving for fresh, original ideas as there is much lifted directly from Die Hard from the basic premise to very similar bits of dialogue, Getz’ right hand mercenary looking like a carbon copy of Karl, Getz threatening to kill an innocent man to motivate Wild to return the diamonds, and him planning to wipe out all the witnesses with a cataclysmic explosion. However, the filmmakers still manage to make this a very fun and entertaining ride despite how by-the-numbers and uninspired this script is. Much of this is due to some impressive action scenes, and the villain that we are given here.
I love Christopher Plummer. He’s an absolutely tremendous actor in so many compelling roles, but you know what? I think every serious, respectable actor deserves to take on a nicely cheesy villain role at least once. As Ivan Getz, I think he just eats up the fun quality of the role, and does make for an intimidating adversary even if so much is clearly lifted from Alan Richman’s Hans Gruber. The rather stereotypical German accent is the most obvious evidence, but it adds to the film’s B-movie charm. Getz separates himself from Gruber, though, by being a bit of a megalomaniac with delusions of grandeur akin to the Third Reich. It allows Plummer to have some intriguing monologues that kind of gives you flashbacks to him as General Chang in Star Trek VI, and that’s generally not a bad thing. Plummer and Griffith have some solid exchanges that build up the personal adversarial connection, mostly done over a two-way radio, and it’s enough fuel to keep the movie going at its consistent, good pace.
Crackerjack is indeed action packed, but features far more gunplay than Griffith’s martial arts skills, much like Van Damme in Sudden Death. However, this is still plenty exciting with big, explosive moments and fun thrills up and down this high altitude adventure. Despite being a direct-to-video feature, the action set pieces are quite impressive, especially when the helicopters blow up, and the finale has some really good miniature effects. For its time, this was a quite admirable action picture, but I would expect modern audiences to be left wanting more spectacle.
Now, if there’s one thing that makes Crackerjack feel distinctly direct-to-video it’s the synthesizer score. Absolutely, a completely synth based score can be excellent. I’m a Jan Hammer Miami Vice fan after all, but there’s a difference when you have a score that is primarily composed for an orchestral arrangement but is performed on a keyboard. After a while, it got to be almost distracting because I kept feeling like I was watching something from Full Moon Features like Subspecies. The score just sounds cheap in this context, and really detracts from the otherwise high production values here. If this score had been given an orchestral treatment, it would have been perfectly fine. There are times when the score works very well, but the obvious limitations do regularly show through.
You could maybe say the same for the cinematography as it is fairly point and shoot with very little in the way of special cinematic visuals. There’s nothing along the lines of crane shots, intriguing angles, or steadicam work, but compared to a lot of shaky cam action films today, I can find that more minimalist approach to be enjoyable. The action scenes are very competently shot, and you’re never confused as to what’s happening. The editing is conservative allowing the action to drive the cuts, and not forcing kinetic excitement by cutting to another shot every split second. Fast tempo editing definitely has its gold standards, but I do enjoy seeing a time when filmmakers did take their time to just allow the action to play out with more comfortable framing and stable camera work.
Crackerjack certainly doesn’t have the budgetary muscle to compete on the scale of its theatrical brethren, but I would say it’s good action B-movie indulgence. Griffith does a very good job in this role making him both an emotionally damaged man, but also a sleek, sharp, and savvy action hero. He brings his natural charisma into the mix to make Jack Wild a really enjoyable protagonist to follow through this perilous adventure. Again, if I’m examining this small window into his career, I can’t say that this could’ve been a breakout film even if it did have a theatrical release budget. The script is very derivative of possibly the best action movie ever made, aiming entirely for the low budget fare, and doesn’t inject anything fresh into the formula. You can definitely get entertainment value out of the film’s fairly well used clichés and the fun performances. If you need any further convincing, you can check out the very funny video that introduced me to this movie courtesy of TheCinemaSnob.com.
Most of the films in Ridley Scott’s filmography are fairly well known, but there are a few that are glossed over for whatever reason. For this film, the fact that it didn’t even make its money back at the box office is the likely reason, but it still garnered very positive reviews from critics. This is indeed a film of special, exceptional quality. Someone to Watch Over Me is not your typical Ridley Scott film, in most part. It’s story is definitely a cop thriller with a great urban atmosphere, but primarily, this is a romantic film done with great, beautiful artistic flare.
A stunning New York socialite and a down-to-earth city cop are caught in a deadly web of illicit passion and heart-stopping suspense. Newly-appointed detective Mike Keegan (Tom Berenger) finds his life turned upside down when he’s assigned to protect Claire Gregory (Mimi Rogers), the beautiful eyewitness to a brutal murder. Lured into danger and the dizzying heights of Gregory’s glamorous lifestyle, Keegan struggles to walk the line between protection and obsession – while trying to stay one step ahead of the psychotic killer Joey Venza (Andreas Katsulas), and not allow his happy marriage to fall apart over his affair with Claire.
I really like the vibe of this movie. It does have a very romanticized artistry to it, but with the moody subtlety that Scott is a master at. Oddly, while watching this, I got a very similar feeling as I got watching the John Badham romanticized version of Dracula, starring Frank Langella. It’s that foggy, subtle romantic visual quality with its greens and ambers which really struck me that same way. Someone to Watch Over Me is a finely crafted and gradually paced work of art that smartly blends the seductive beauty with the dangerous crime elements. By the trailer, you’d likely expect something a little more thrilling and exciting, but even then, this film easily roped me in. This is surely due to the great casting and excellent acting.
Michael Keegan is not the usual kind of movie cop. He’s surely streetwise, but he feels a little green and out of his element. Having just been promoted to Detective, he doesn’t have the consummate manner of those around him, and coming from Queens, he’s not accustomed to the high life sophistication of Claire’s world. So, he’s a bit of a blue collar style easy going guy, and Tom Berenger does a stellar job in this role. He’s extremely likable and fun loving early on, and progresses into a more serious, emotionally complex character as events unfold. You can see that Mike is very happy with his family, but as he gets deeper involved with Claire, everything begins to be torn apart within him. Berenger has great and distinctly different chemistries with Mimi Rogers and Lorraine Bracco, who portrays Michael’s wife Ellie Keegan. Both relationships have their own touching qualities, and work equally as beautifully. Ellie perfectly reflects the man he is, but Claire gives him something fresh and seductive. It’s an odd dynamic that you can feel so much for Mike and Claire, knowing they have something unique together, but also, view Mike as the bad guy opposite Ellie. That’s really a testament to Berenger’s talent. He makes Mike a very down to Earth guy with flaws, but never comes off as a reprehensible adulterer, just a man of sympathetic conflicts of the heart.
I was very pleased with what Mimi Rogers accomplishes in this role. The few moments where Claire is confronted by Venza are intensely fearful, and Rogers is greatly convincing. However, the majority of the film is focused on Mike and Claire becoming closer and more intimate. She proves to be a gorgeously romantic woman who is not a seductress. There’s nothing lurid about these two becoming involved. There is a genuine endearing attraction there that is quite touching, and the building of a chemistry and attraction with Claire is done quite subtly. She is charming, elegant, and vulnerable, but still exerts confidence. There’s a fine line between where she feels safe and self-assured and feeling very frightened that Rogers handles with delicate balance.
Through all this, you honestly feel for Ellie a great deal because she’s done nothing wrong to deserve this betrayal of her love. Lorraine Bracco is wonderful showing the agonizing pain of Ellie. She loves Mike so dearly, and that pours out so richly once she is scorned. This is really an exceptional performance as we see a full spectrum of emotion from Bracco from the loving and down to Earth woman to the deeply hurt wife and even beyond that in the film’s climax to utterly frightened to death. While the film is heavy on the Mike-Claire relationship, Bracco does such a strong job to keep Ellie’s end of the film relevant and emotionally impactful. By the end, that is the crux of the film’s resolution.
And I really adore Andreas Katsulas. He was taken from us far too soon. Many would know him as the one-armed man in The Fugitive, but my heart with him lies with the science fiction series Babylon 5. Here, his role is full-on in intimidating heavy mode. His screentime is fairly restrained, but his presence is almost always felt. That presence is very effective right from his first few minutes of screentime all the way through to the taut, thrilling climax. Katsulas takes that great talent of his and compounds it into a lethally threatening performance. Like with everything else here, the key word is definitely “subtlety.” Ridley Scott has such a great handle on tone with his visuals and actors that it is no surprise that everything is just pitch perfect throughout this cast. Of course, I couldn’t forget to mention the late and charming Jerry Orbach as the solid Lieutenant Garber. Orbach is always a bright pleasure to see in anything he ever appeared in.
It also put a smile on my face when Michael Kamen’s credit came on screen as the composer. I really, dearly love his work. There was always a real elegance and sophistication he brought to his scores, and Someone to Watch Over Me definitely gave him the opportunity to flesh out some lush, romantic cues. There’s the obligatory saxophone parts, but it’s done so very beautifully. It really is a lovely tapestry of romanticism that he weaves throughout this film while never remotely approaching over the top melodrama. He’s aided a little by a smooth jazz style arrangement of the title song by Sting, and some fine music tracks from Steve Winwood and Fine Young Cannibals early on. The work Kamen does with the tenser, more thrilling scenes is very effective and taut. This is the perfect score for this movie accentuating every subtlety with careful craftsmanship.
Also, it seems that no matter what cinematographer Ridley Scott works with, his visual style always comes through brilliantly. You could turn this movie on, not knowing anything about it, and know it is a Ridley Scott movie just by the rich atmospheric noir look of it. Someone to Watch Over Me is absolutely gorgeous re-crafting the looks of Alien or Blade Runner into a romantically effective package. The scenes early on in the night club and art gallery are brilliant, perfect examples of Scott’s signature style. Later on, inside Claire’s upscale apartment, the overall look is very seductive with soft, dim amber lighting. As usual, Scott uses very deep blacks and smoky, shadowy visuals to create a mysterious atmosphere, and even on the streets of New York, that works so stunningly well. If for nothing else, Scott is one of my favorite directors based on his gorgeous visual neo noir style.
Beyond all of the stunning aesthetics, the story played out in both the seductive romanticism and the dangerous crime thriller are perfectly interwoven. I found the balance just right for the film’s intended emotional direction. I would definitely imagine a film like this today being forced to be packed with a lot more action and excitement instead of developing the romance and subtle suspense. Thankfully, this was made in a time when someone like Ridley Scott, whose last couple of films had not done well at the box office, was able to make the movie he wanted to make. He does a fantastic job with Howard Franklin’s screenplay just enveloping it entirely in his articulate, detail oriented sensibilities and wonderfully inspired visual style. Yet, the visual awe is not used to mask any lack of substance, but to enhance the strengths of it all.
I really did enjoy Someone to Watch Over Me. If you enjoy a classic thriller with a twist of romance, which the film’s tagline boasts, you will certainly find some satisfaction here. Ridley Scott directs this film with class and a focus on the smooth moody atmosphere and gradual development of its characters. The cast is absolutely top notch featuring substantive and respectable work from everyone involved. This film is actually a very clear precursor to Scott’s next film, Black Rain, which was an excellent full-on thriller, but still with a lot of that romanticized atmosphere of danger. If you’re looking for the exciting flipside to this seductive film, Black Rain is absolutely that film. Just forego watching the trailer. It’s a little on the spoilery side. Anyway, Someone to Watch Over Me is a very beautifully crafted and executed film that I really do highly endorse.
To me, there is no defending this movie. It is the worst film of this franchise, and a terrible supposed ending for Freddy Krueger. As the progression of these films showed, Freddy transitioned from being a chilling icon of horror into being a jokey, cheesy clown, and this film goes right off the deep end of comedy in the most wretched ways. Worse yet is that that’s just the beginning of this movie’s problems. It tries to do something quirky and new, but the ideas it runs with are just so stupid that I cannot fathom how anyone embraced them as good ideas. What stuns me more is that this film was written by the same person, Michael DeLuca, who wrote my favorite horror movie of all-time – John Carpenter’s In The Mouth of Madness. Of course, Freddy’s Dead: The Final Nightmare has nothing at all to do with the horror genre.
Dream monster Freddy Krueger (Robert Englund) has finally killed all the children of his hometown of Springwood. One amnesiac teenage survivor, known only as John Doe (Shon Greenblatt), is allowed to escape so that Freddy may expand his power beyond the town. John soon comes into the care of a youth shelter and Dr. Maggie Burroughs (Lisa Zane), who has a forgotten past of her own as Krueger’s own daughter. This revelation is what can facilitate Freddy’s freedom to engulf the world in nightmares. However, she discovers the demonic origin of his powers and meets him head-on in a final showdown.
This is a cluttered mess of a movie, but I’ll tell you what I like about it which isn’t much. Since Freddy’s Dead is set a decade in the future, there’s obviously a detailed history that we are unaware of, and thus, it creates an inherent mystery. It lays a foreboding mystique over Krueger’s motivations and schemes. Of course, this film squanders all of that hint of potential by not exploring any of that untold history at all. It concerns us solely with this bland, boring mystery about Freddy’s kid and Krueger’s origins. The misdirection of who is Freddy’s kid is terribly weak and completely uninteresting. John is a teenager, and it is stated in the movie that Freddy’s child was taken away from him in 1966 – thirty-five years before the time this film is set. Even then, Freddy was probably already dead by the time John was born. There was an early idea that John would have been Jacob, Alice’s son from The Dream Child, but that is clearly impossible as he’s too old. Maggie being Freddy’s daughter is also a completely new thing that comes out of nowhere. Obviously, this is a brand new thing created for this movie alone, but it doesn’t take into the thought that if Freddy had this child out there all this time that he would’ve taken advantage of her far earlier than now.
This is indicative of how this film presents ideas and questions, but the filmmakers put in no time or effort to think them through. They don’t pull from the established continuity or characters we’ve connected with through the previous five movies. While a few of the films have introduced new ideas to Freddy’s origins, they’ve been largely smart ideas that flow organically from what had come before. These filmmakers also don’t rationalize the motivations or thought processes of its characters to have anything really make any sense. Beyond that, it constantly embraces the ridiculous as if this was meant to be a horribly bad comedy. The story has a very shaky foundation, and anything built upon it is constantly crumbling apart. By the end, it’s an eye sore of a disaster.
Also, this film brings up an intriguing question of whatever happened to Alice from The Dream Master and The Dream Child? This character that defeated Freddy twice, and clearly had the power to keep him at bay is never eluded to once in this movie. Freddy’s wiped out the child population of Springwood, and turned it into a bizarre wasteland of delusional adults. Did Alice get killed, or did she just runaway and let it happen? If Freddy killed her, that would be an extremely pivotal thing for fans and audiences to know and actually see. If she turned her back on him, that’s also a story I’d like to see explored. Why would his biggest, most powerful nemesis not be there to combat him to the bitter end? These questions have no remote answer to them. Instead, we’re burdened with a couple of lead characters that I couldn’t give a damn about.
I cannot say that Shon Greenblatt was a very good casting choice. He’s not terrible, but he just has nothing charismatic or special to offer in this role. He has practically the same expression through every single scene regardless of he’s confident, angry, afraid, or confused. He fails to elicit any sense of caring from me. This is also due to how stupid and flat his character happens to be. He exercises no perceptive intellect, and kind of comes off as arrogant once he thinks he’s Freddy’s kid. He forms this conclusion based on nothing definitive, and just jumps around from one idiotic, self-important conclusion to another. Neither Greenblatt nor the direction do anything to make this a character you’re going to care about one way or another.
Lisa Zane’s character is also someone I couldn’t really care about. The film takes almost an hour before it starts going into any detail about Maggie, and even then, it’s extremely minimal stuff just to facilitate a weak connection between her and Freddy. Beyond that, I ask myself the questions of why am I supposed to care at all about this brand new character that this film takes next to time to develop? What’s so special about this character that she is meant to be the one to put the supposed final nail in Freddy’s coffin? And again, why the hell aren’t we following Alice Johnson charge headlong into a final, epic battle with Freddy? The filmmakers didn’t need to manufacture a child for Freddy in order to explore his back story, and even that idea is so lazily implemented. No one puts forth any effort to make that anything an audience should invest themselves in. Most importantly, Lisa Zane really does nothing with this character. The performance is very hollow, and like Greenblatt, she essentially has one facial expression for every emotion in every scene.
The only cool and bad ass member of this cast is Yaphet Kotto, and that’s because he is Yaphet Kotto. I don’t think it’s possible for him not to be awesome in any role. They should’ve made the film more about his character, who is only named Doc. He’s the one that figures everything out, and has the knowledge and perception to battle Krueger on his own ground. Unfortunately, he probably has the least amount of screentime, and his talent is almost entirely wasted opposite such bland characters and cast members. With this film, it seems that the less significant your character is, or the less screentime you are given, the better your performance will be.
For instance, this film’s new set of teens are pretty good characters filled by charismatic actors. The most notable among them is Breckin Meyer in his first feature film role. You can see all of his signature personality and talent on display here. Lezlie Deane is the most proactive of them all as Tracy showing a lot of fight and toughness. She doesn’t take much attitude from anyone. Ricky Dean Logan has a nice dash of attitude while still being quite likable as Carlos, the kid with the hearing aid. Freddy ends up screwing with him royally via his hearing aid by amplifying every little sound to deafening levels. It’s too bad that it’s so undermined by the absolutely cartoonish behavior of Freddy.
Knowing that even Englund himself agreed to make this movie like a Bugs Bunny cartoon makes my head hurt. Up until this point, he was able to maintain some integrity with the character, but here, it just all gets flushed right down the toilet. There is no menace, no sense of a frightening killer anywhere within this movie. Englund jumps the proverbial shark with this performance making Krueger a total, cringe inducing cartoon that really craps all over the entire franchise. The make-up job also follows that mentality with a horribly cheap and rubbery prosthetics job constantly exposed in bright light.
The visual effects, in general, are largely bad. They tried to use some low budget CGI, but it looks no better than mid-grade optical effects, at best. There are a few shots that are fine, but the visual effects do take an obvious nose dive decline in quality from the last few films. Mixed with the poor 3D sequence, it just becomes cringeable to look at. The dream demons themselves are horrendous and laughable in their brief appearance. The practical effects from master John Carl Buechler are very good in most respects, but the film is so terribly light on kills and good imagination that there’s hardly much of a showcase for Buchler’s brilliant talents.
I really like the soundtrack for this film to the point where I tracked it down years ago on CD. It has many great tracks mainly from the Goo Goo Dolls, and a solid end titles track from Iggy Pop. I can’t say I’m all that keen on how, early on, the film drives this soundtrack right into the blatant forefront. Every few minutes another song kicks in undermining the score. For certain types of films, this sort of thing works, but for what should be a horror movie, it doesn’t at all. Of course, even the score that this film has is almost entirely dismissible and hardly noticeable.
The third act of this movie is such garbage. First off, the horrible 3D gimmick of Maggie putting on 3D glasses to enter Freddy’s mind is face palmingly bad. Again, Freddy’s a horribly bad joke in this movie, and so, I don’t give a damn about his back story at this point. Maggie is a hollow, boring protagonist that I care even less about. So, I simply don’t care about her traversing through Freddy’s memories, or seeing how he became a serial killer or a dream demon. The only highlight is Alice Cooper appearing in a cameo as his father, but it’s nowhere near being a saving grace. The entire fight between Maggie and Freddy is just crap. It’s essentially a street fight with conventional weapons with absolutely no fantastical qualities whatsoever. After all of the supernatural, paranormal, metaphysical ways they’ve defeated Freddy in the past five movies, these filmmakers resort to a damn pipe bomb. Maggie pulls him into the real world, and blows him up with a pipe bomb. You have got to be kidding me. How creatively bankrupt must you be to go forward with that, and have it end with Maggie being all smug about it? I’ll take the toxic waste bath in Jason Takes Manhattan over this insulting garbage. At least that showed a semblance of imagination and effort.
Any of the lesser grade sequels could at least be chalked up to poor execution, but this movie is a disaster from the concept and script onward. I don’t think this is a well directed movie by Rachel Talalay at all. It’s not well conceived, not well written, and it’s not well acted where it counts. Freddy’s Dead bares no resemblance to a horror movie at all. It doesn’t even put forth the smallest effort to establish a mood or atmosphere conducive to scaring even the most timid audience. There’s so much cartoony garbage stinking up the movie that you couldn’t break out of it if you tried. This movie SUCKS SO FUCKING BAD! I strongly avoid using that kind of profanity in my reviews, but when a movie elicits that strong of a negative emotion from me, there is no way I could express my vehement disdain any other way. It’s like a middle finger pointed straight at the audience in crappy 3D. This film also has no sense of transition. There are a few scenes that just abruptly end, jarring us into the next scene without a single mind towards a segue. You feel the scene is building towards something more, but it takes a sharp turn into a completely different scene. This is bad plotting, poor pacing, and just sloppy editing. Freddy’s Dead: The Final Nightmare has no qualities that could possibly redeem it because it was so royally screwed from its inception.
From here, the only salvation for Freddy Krueger was Wes Craven and Jason Voorhees. The first was a creative salvation, and the second was a financial salvation. Sure, this movie was a box office success, but there is nothing within this film that deserved that success. It is one of the absolute worst sequels I have ever seen, regardless of genre. I would log it next to Alien vs. Predator because it is that insulting in its ideas, and piss poor in its filmmaking competency. Also, this film absolutely did not need an obnoxious cameo by Roseanne and Tom Arnold. They standout like a sore thumb, but thankfully, it’s only for a minute. However, it’s just another stamp of the filmmakers not taking this film seriously or respecting where this franchise came from. Even separated from the franchise, this is still a terrible movie through and through. So many of those creatively involved with it should be ashamed that they did this to Freddy Krueger. Instead of shifting gears and bringing the icon back to his serious roots of horror, they plunge off the deep end, and drown him in a comedy sewage. I could go on and on calling this film every bad name in the book, but I think I’ve said plenty. Thank goodness that Wes Craven would bring respectability back to the franchise with New Nightmare, which I did review last October. Skip this movie and watch that one. It’s a massively, exponentially superior film on every level.
This is where the film franchise took a serious slip and fall misstep. Someone realized that Freddy Krueger was on the verge of becoming a bad punchline, and so, steps were taken to make this a darker, more mature sequel. Rushed out into theatres just under a year after The Dream Master, director Stephen Hopkins did all he could to deliver a solid film, but there was too many misconceived qualities to be what the studio desired. This was the lowest grossing film of the series up to that point, and the reasons why are evident here.
Having survived and seemingly defeated him, Alice Johnson (Lisa Wilcox) finds the deadly dreams of Freddy Krueger (Robert Englund) starting once again. This time, the taunting murderer is striking through the sleeping mind of Alice’s unborn child. His intention is to be “born again” into the real world at the expense of Alice’s new circle of friends. The only one who can stop Freddy is his dead mother, but can Alice free her spirit in time to save her own son?
For me, the biggest and most evident issue with The Dream Child is that it tries to tie campy, overblown humorous elements in with a gothic looking slasher film, and that just curls my upper lip in disgust. Stephen Hopkins certainly directs a very well shot movie, but that gothic production design is soaked in so much brown that it’s not inviting to look at. That visual style is really contained within the dream world, but that has always been the more fantastical and visually intriguing aspect of these films. Hopkins does have a great eye for stylish visuals, but it is a very drab film to look at in most cases. If it had a more subtle, realistic color palette like Craven’s original, or followed along the vibrant color schemes of Renny Harlin’s The Dream Master, this may have been a more visually exciting movie.
Lisa Wilcox is able to stretch out and expand upon her previous performance as Alice. She’s able to take that strong fighter, and add the emotional touches of heart and depth into her. It feels very organic from how she initially was in The Dream Master, but just melding that with her new found strength. Wilcox also brings out the heartache and inner turmoil of Alice with endearing charm and sympathy. She’s pushed to new limits, fighting to save not only her friends, but the life of her newly conceived son, which Wilcox embraces with a great deal of depth and motivation. All around, she leads this film with a lot of confidence continuing on as an inspiring hero for this franchise. I feel it’s unfortunate that she is never revisited again because Lisa Wilcox is such a solid and versatile talent, and really gave us a standout character to rival Nancy Thompson amongst fans.
Now, Alice’s new cast of friends are not filled by bad actors. They are quite good, but the characters just aren’t that appealing or entertaining. The closest we get is the comic book artist Mark. He’s decently fun, but is definitely downplayed. He has some good dramatic moments, and showcases some heart at times. It’s a shame that actor Joe Seely has nothing more to work with here because he seemed to have the potential to really breakout with a more entertaining performance. With Yvonne, I understand the idea of the friend that doesn’t always agree with you, but she is too abrasive too often. There is too much friction between her and Alice for my liking to where I just didn’t like the character. With all the teenagers that have been killed by Freddy in this town, you’d think she would actually wake up to the truth and start acting more open-mindedly. Instead, she remains a stubborn minded person dismissing her friends claims instead of trying to help them through most of the film. That’s a friend I wouldn’t care to have. Greta, the more upper class type friend, just doesn’t have much going for her as a character. The actress portraying Greta’s mother, however, is just terrible all the way through. She overacts the part to horrendously cartoonish levels. Her performance is very forewarning of some of what we’d get in Freddy’s Dead.
I found the kid who plays Jacob, Whitby Hertford, to be rather unappealing to look at and rather annoying. There was nothing about his performance that made me feel sympathy for him at all. Even worse is that the make-up department did all they could to make him look uglier, creepier. Surely, that was the intent, but part of the purpose of Jacob is to make him sympathetic; to make him someone you want to see saved from Krueger’s clutches. I couldn’t care any less about him if I tried. I really feel he should have been played more innocently, and have Freddy gradually corrupt him more and more to motivate sympathy from an audience and put more urgency upon Alice to act quickly.
Ten years ago, I was able to do an email based interview with Robert Englund, and from that, I gained insight into the shift in the tone and portrayal of Freddy Krueger from scary and serious to cheesy and comical. He said, and I quote, “I feel Freddy should be dark, but directors and fans like his dark humor. In many cases during the filming of all the movies I would give a dark and a comical take for certain scenes. Director liked the “button” that a laugh gives so they would often opt for the more comical take in the editing room.” The choice to take Freddy into comical territory was indeed outside of Englund’s control, and he simply gave the filmmakers the best performance he could based on what they wanted. This film delves deeply into the comical villain portrayal, and thus, the scare factor of Freddy Krueger is severely drained. He was turned into a twisted clown that might make some people laugh, but is almost guaranteed not to scare you at all. What is scary is that this is not the worst it would get to being.
The make-up work on Freddy does fall down in quality as he appears cheap and rubbery. This is a byproduct of the rushed production schedule. However, many of the various practical effects are impressive such as the motorcycle death sequence that seems straight out of Videodrome. There are some cool visual effects used when Mark gets sucked into his comic books, but it was far from anything new. It was mostly a retread of the classic a-Ha music video for “Take On Me.” The climax features effects and designs directly copying from M.C. Escher’s famous artwork Relativity with all the upside down staircases. It’s a fine idea, but it’s less surreal and just more whacky and silly. I’ve seen it done in Looney Tunes cartoons before, and so, I would hardly associate it with a frightening, vertigo-like nightmare. There are a number of very good visual effects in The Dream Child, but the ideas behind many of them aren’t all that great. Plus, they seem even more dated than those of The Dream Master.
And of course, since this film deals with a pregnancy, I honestly don’t think that A Nightmare On Elm Street movie is the proper platform to debate the issue of abortion. I am not going to inject my feelings on the issue here either. This film brings it up as a serious issue for Alice to contend with, but she remains strong in her decision to keep the child. People don’t go into a movie like this to have hot button socio-political issues debated. They are there to have a fun time being scared. Adding this sort of subject matter into the movie likely turned more than a few people off to it. While it is not an aspect of the film that really bothers me, it’s just not something that needed to exist in a slasher movie.
This sequel also feels uneven in its plotting, and rather thin in certainly places. The film is front loaded with establishing every element of this plot to where it leaves a lot of muddled meandering in the middle. It probably rushes us into the thick of the story quicker than necessary. Then, the film progresses past all of that to where it kind of goes through the slasher movie motions to rack up the body count. It’s not until the final act that any of these plot elements are actively dealt with, and even then, it becomes very repetitive just in order to fill in the remaining runtime. That’s odd to say since the film ends very quickly after Freddy is dispatched with, but still struggles to come in under the 90 minute mark. The third act confrontation with Freddy runs around in circles, both literally and figuratively, to where it just doesn’t feel exciting. Again, I didn’t care a thing for this creepy child Jacob to invest myself in Alice’s desire to protect him, and the filmmakers don’t really do anything to make him anyone to care about. So, having Alice and Freddy chase him around the dream world for the whole third act was just tedious. I generally like the further exploration of Freddy’s origins and bringing Amanda Krueger back into the fold from Dream Warriors. I just don’t think all of these elements have enough impact on the climax as they likely were supposed to. I understand not trying to close the door on Freddy, again, since he always comes back, but not trying to have a satisfying and solid ending to your movie is a terrible approach to have.
While Stephen Hopkins tried to take this into a darker, grittier look, it is the script that fundamentally sabotages that effort. I’m even hard pressed to say if this is even a potentially good concept because it is executed so poorly from a clunky screenplay. This is what you get when you rush the movie into theatres fifty-one weeks after the original. Back in 1989, it took that long just to get a movie from theatres onto home video. When you slow down, and take your time to find the right story and refine the concept, you will get a better movie in the end. Instead, The Dream Child is enough of a mess to call this a major pothole in the steady road of success of this franchise. While it was profitable, it did fall especially below expectations. Thus, New Line Cinema decided to begin plotting Freddy’s supposedly ultimate demise with what would be the most horrendous movie of this entire franchise. As for this sequel, ultimately, neither the attempt at a darker, more mature tone nor Englund’s best efforts could save it. The film is watchable, but not especially satisfying.
With the strong success of the third movie, New Line Cinema struck their biggest gold with this 1988 sequel helmed by Finnish director Renny Harlin. The Dream Master takes a lot of what made Dream Warriors marketable and entertaining and amplified it. This is definitely the most mainstream film in the franchise with many pop culture sensibilities, and that resulted in the largest box office take until 2003’s Freddy vs. Jason. For many years I had formed a much more negative opinion of this film, but now that I’ve watched it again, I can say that this is a very well made movie. However, I cannot say that it’s a very effective horror movie.
Proving there’s no rest for the wicked, the unspeakably evil Freddy Krueger (Robert Englund) is again resurrected from the grave to wreak havoc upon those who dare to dream, but this time, he faces a powerful new adversary. As her friends succumb one by one to Freddy’s wrath, telepathically gifted Kristen Parker (Tuesday Knight) embarks on a desperate mission to destroy the satanic dream stalker and release the tortured souls of his victims. However, her power will have to be passed to her friend Alice Johnson (Lisa Wilcox) as she has the ability to overcome Freddy’s control, and absorb the power of her slain friends to end Krueger once and for all.
I do enjoy a couple of Renny Harlin’s movies. The Adventures of Ford Fairlane and Die Hard 2 are definite favorites of mine, and I am anxious to watch Cliffhanger very soon. However, I don’t think horror really is his strong suit, despite how gory his early films are. I will certainly hand it to him for having a great handle on gore effects, and his films usually look damn good on all levels. Still, this film is a long way removed from the brilliant execution of chilling suspense and the masterful enveloping experience of terror of Wes Craven’s original classic. However, on a technical level, this is probably the best made film of the franchise until New Nightmare. Harlin just knows how to move his camera in smart, cinematic ways. There seems to be more camera movement overall with some steadicam work, and smart, engaging camera angles. This is a very polished looking film having nearly triple the budget of Dream Warriors, and it shows through in all aspects. It has vibrant colors, but a good mix of light and dark. The whole movie feels just a little more theatrical in its lighting as well. Thus, the mood is a little more artistically crafted, visually, than Dream Warriors, but it does lack a good dose of suspense. The film has its gore, its violence, and its imagination in high gear, but doesn’t make itself all that scary.
This film loses a lot of potential emotional resonance having to recast Kristen Parker with Tuesday Knight. There was apparently a turbulent experience for Patricia Arquette on the previous movie, and for possibly other reasons as well, she chose not to reprise the role of Kristen. Knight does an okay job, but it really feels like a filler role to motivate the plot along quickly to put Alice in the lead role. It also comes down to how she is written. There is no motivation given for why she’s convinced that Freddy’s coming back to get her, and it feels like a large step backwards for the character. She seemed to evolve a little in last film to a stronger protagonist, and she feels regressed to a more timid, easily spooked person here.
Returning from Dream Warriors are Ken Sagoes and Rodney Eastman as Kincaid and Joey, respectively. They still deliver perfectly to what they did in the previous movie, but their chemistry with Knight is not as good as it was with Arquette. I really like that The Dream Master feels like a direct sequel by bringing back these surviving characters while segueing into a new cast. We spend the first act with them, fearing for their lives from Freddy’s imminent rampage of revenge, but then, it shifts into another gear that once again builds upon the premise of the series. It feels like Freddy is triumphing here as an nearly indomitable force, and we need a stronger hero with special powers to combat him.
This film greatly builds Alice up as our new heroine. We get glimpses into her emotional and mental state, both affectionate and angered, from under her meek appearance. The film nicely balances establishing her as a well rounded character in all aspects while keeping Kristen also in the forefront in a more troubled state. Lisa Wilcox proves to be a solid actress with fine range. We see her take Alice from this lowly, slightly introverted young woman to a vibrant, tough fighter. Yet, we get moments of endearing sweetness and heart making her easy to sympathize with. We follow Alice as she grows into this awesome character, and delivers in spades as an action hero that a film of this sort required.
I think the idea of Alice gaining the powers of her friends as Freddy kills them is great. It creates a fresh dynamic in the story that while Alice suffers the grief of her dying friends, she becomes stronger by them so that she can battle Freddy. He is savagely tearing through them at a fast rate making the situation all that more dire and seemingly insurmountable. It definitely moves the film along at a tight pace, and makes for an entertaining and original sequel. I will hand it to the A Nightmare On Elm Street movies for always seeking out new ideas so that no film feels like a carbon copy of another. The ideas might not always work, but there’s at least an effort put forth most times.
Since this film amplifies all of the entertaining qualities of the previous movie, we get a Freddy Krueger who cracks more jokes, throws out more one-liners, and has significantly more screentime. Robert Englund still does a very good job with this material maintaining his own standards of integrity as an actor. Unfortunately, the portrayal of Freddy in this film just falls further away from that frightening figure that stalks the dark recesses of your worst nightmares. For crying out loud, he is seen in broad daylight on a sunny beach with a pair of sunglasses on. That’s one of my least desirable images from this franchise. It’s the total stark opposite environment to place Fred Krueger in. The scene in question has Kristen going into her own idyllic dream, and then, Freddy crashes it in a very Jaws homage fashion. The better way to do this would be to have the sky go dark and stormy, and have Freddy invade her dream in a more ominous way. Keeping Freddy in the shadows is where he is the most effective, and while there is some of that here, the liberties taken just don’t work to maintaining him as a scary figure.
The effects work here is amazing and rather ambitious. The waterbed scene is great in both concept and execution as Joey tries to reach the naked beauty inside, but then, gets gutted by Freddy. The most shocking and disgusting effects are when Freddy goes after Debbie, and she is transformed into a insect piece by piece. Even for as much gross stuff as I’ve seen in horror movies, this sequence still makes me cringe and my stomach turn. It’s no wonder I haven’t worked up the nerve to watch David Cronenberg’s The Fly. The big ending to the climax where the souls are fighting to break out of Freddy is greatly elaborate and highly impressive. Many different effects were used to pull this off, and they cut together seamlessly and to fantastic effect. While some of the effects are dated and a little cheesy, they still work for the film’s overall style, and were certainly high grade for their time.
The music is very pop oriented with a mostly synthesizer style score creating a great ambient mystique. It is a perfectly 80’s soundtrack with a number of really good rock tracks from Billy Idol, Dramarama, Vinnie Vincent Invasion, and Tuesday Knight herself performing the opening title track “Nightmares.” I really like the sound of all of it because it gives the film energy, style, and a little bit of edge. It helps to energize the movie and the audience as events unfold and build up to a really great climax.
I now do really like this movie. It is fun, entertaining, exciting, and quite smart in a number of ways. Renny Harlin does a great job with the well developed screenplay. Unfortunately, where it fails is in actually in the horror department. I’m not sure what to classify this movie as because it does have gruesome, nightmarish imagery, and great effects along with a solidly put together cinematic atmosphere. There’s just not much here to scare an audience with outside of the graphic scenes of gore. There’s very little effort put into building up tension or suspense, which are key to roping an audience in tightly. It’s a fun, dark fantasy with a pitch perfect pop culture sensibility and excellent violent, gory moments. The Dream Master is a largely fun time spent with a very capable and enjoyable cast, and so, it is easy to see why this was such a big box office success. I just wish there was more to be potentially scared about in this tightly paced 93 minute runtime.
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.