When I see the name Platinum Dunes attached to a horror remake, I hang my head in a wholly disheartened state. While I did enjoy their remake of The Texas Chainsaw Massacre on its own merits, everything after that has been stuck in the mud sinking further and further into uninspired junk. I’ve given them fair chances, but they have failed in such colossal ways. The final nail in the coffin was this remake of A Nightmare On Elm Street. A cluttered, drab, plodding mess is what this film turned out to be, and even not comparing it to Wes Craven’s original classic, it’s still a poorly executed film.
Five teenage friends living on one street all dream of a sinister man with a disfigured face, a frightening voice and a gardener’s glove with knives for fingers. One by one, he terrorizes them within their dreams – where the rules are his and the only way out is to wake up. But when one among them dies, they soon realize that what happens in their dreams happens for real and the only way to stay alive is to stay awake. Buried in their past is a secret that has just begun to be revealed. To save themselves, they must plunge into the mind of the most twisted nightmare of all: Freddy Krueger
Okay, remaking A Nightmare On Elm Street is not an outright terrible idea. There are certainly ways to expand upon the original idea, enhance the effects, and execute it with a new, yet still effective style. Surely, a sequel could just as easily do the same, but for whatever reason, despite the massive success that was Freddy vs. Jason and the fact that Robert Englund could easily reprise his iconic role, New Line Cinema chose to just remake the original. However, no one involved in this film did anything to make this a film worth making. I think it’s easier for a franchise to recover from a bad sequel than a bad remake. With a bad sequel, you still have better moments in continuity and filmmaking efforts to build upon, and if the sequel is bad enough, like Highlander II bad, you can disassociate it from continuity. A bad remake stops progress dead in its tracks because the beginning of this new continuity is not well received, fans don’t like the direction the property was rebooted into, and the general fan base doesn’t want to see more of it. There’s next to nowhere to go, and that’s why you rarely see sequels to remakes.
Jackie Earle Haley is an excellent actor, and I have very much enjoyed him in a couple of roles. There was a potential for him to deliver something impressive and unique here. There are a few things he does that were new and original in terms of mannerisms. However, by no fault of his own, neither the script nor director gave him anything worthwhile to sink his talent into. Krueger is poorly developed as the filmmakers try to take him in a different direction, but the entire premise backfires in such a sloppy, brain dead way. Trying to suggest that Krueger was wrongfully accused and unjustly murdered could work under more talented screenwriters and filmmakers, but it’s just handled stupidly and with no forethought. However, the biggest issue, for me, was that Haley was too recognizable even under that very good make-up job. When I saw this theatrically, I had just seen Haley regularly on the Fox television series Human Target, and so, his face was very familiar to me. Even the voice he uses is essentially that of Rorschach from Watchmen with a slur. It feels like a half thought out package, at best, which is an accurate blanket statement for this entire movie.
A problem arises with the performances by its young leads. This film does quite a good job accurately portraying sleep deprivation with people being frayed, exhausted, drowsy, and essentially very drained of energy. Unfortunately, that also creates a set of performances that are drab, lifeless, and generally disinteresting. The thing is, in none of the previous Elm Street movies did I ever have a problem with the actors actually putting energy into their performances when they were meant to be sleep deprived. For one, the make-up department did their jobs in weathering the young actors to look the part, much the same is done here, but secondly, energy and conviction are exactly what are needed to make these performances not just good but engaging.
Honestly, I don’t even think the lackluster acting is the fault of the cast. There are some very strong talents here such as Rooney Mara as the film’s lead Nancy Holbrook and Thomas Dekker, who I know well from the Terminator: The Sarah Connor Chronicles TV series. I think the blame is entirely in the hands of director Samuel Bayer. My point of proof here is Clancy Brown. Let’s put The Kurgan aside. Go watch Kathryn Bigelow’s Blue Steel, and you will see a charismatic, lively, and excellent performance by Brown in a very grounded role. The main difference is that’s Kathryn Bigelow, an Academy Award winning director who has done increasingly incredible work over the years. Samuel Bayer is making his feature film directorial debut here after almost two decades of directing nothing but music videos. This movie does look fantastic, but beyond the great visuals, there is nothing here that impresses at all. That’s what I keep seeing from all of these Platinum Dunes directors – movies that have excellent visuals and polished cinematography, but are very hollow, uninspired, and unimaginative. Music video directors know how to make a good looking product, but have next to no experience working with actors to craft anything more than superficial performances. Surely, sometimes you get a Russell Mulcahy or David Fincher, but there are far more directors like Samuel Bayer and Jonathan Liebesman that come around who just have little to no talent working with actors and drawing out a strong performance from them. They are good visual storytellers, to a degree, but lack the multi-facetted skills required to be a full-fledged filmmaker.
I think the biggest shortfall of this film is the lack of genuine suspense and tension. I was only afraid of another jump scare coming out of nowhere, and frankly, it kept me too on guard. I kept bracing myself for another cheap scare. This film just throws jump scare after jump scare after jump scare at you. It takes no talent or skill to have someone jump out of the shadows with a loud musical stinger behind it. It’s cheap and worthless. And some of the gags are so blatantly setup that I called them before they even happened. The result of all this is the fact that Freddy doesn’t feel built up enough. He’s not a looming figure screwing around with you making you squirm. He’s the boogeyman jumping out at the shadows every chance he gets like a kid on Halloween, and that’s simply a hollow, go-nowhere idea that shows the difference between a blunt, shallow filmmaker and someone like Wes Craven or James Wan who knows how to build up atmosphere, tension, suspense, and manipulate the nuanced aspects of a film to truly scare you.
Aside from the respectable, moody cinematography, I will give credit to the film in that the tone is kept serious. There is no camp humor or jokey qualities to it. The filmmakers try to keep it very solid, focused, and dramatic. Sadly, the skill of the filmmakers is too thin to hold the weight that the film should have. The entire film does feel like a product designed to grab dollars and be forgotten. There is no artistic passion behind any of it, and the quality of the story suffers for it.
As I said in a previous Elm Street movie review, I do applaud that the various filmmakers always tried to introduce new, fresh ideas into the franchise, and never just laid back on carbon copy sequels. The downside is that the new ideas haven’t always worked, and the entire plot of misdirection regarding Krueger’s possible wrongfully accused back story is poorly handled. The way Krueger acts throughout the picture doesn’t lend credence to a man who was dealt a grave injustice, but an evil, sadistic man who enjoys torturing and slaughtering people. All the while, our lead characters are running around trying to unravel a mystery that ends up being a red herring, and thus, it was all just a giant waste of the audience’s time and attention. The idea is not executed well to misdirect an audience, and there is ultimately no pay-off for it, regardless. Not to mention, it’s an extreme plot contrivance that every single one of these kids blocked out the memory of Fred Krueger and their time at that school. So, it was a potentially interesting idea, but with how short-sighted every idea is in this film, it had no hope of actually developing into anything close to its potential. That is another easy, blanket statement to apply to everything in this film.
The visual effects of this remake are really not very good. For one, there’s no excuse whatsoever for CGI blood in an A Nightmare on Elm Street movie. NONE! It looks cheap and unconvincing. There are a number of effects here that are passable, but the bad stuff really just jumps out at you. Also, this movie proves that a simple practical effect and some artistic vision trumps digital effects. The scene of Krueger pushing through the wall, which was achieved in the original with Robert Englund literally pushing himself against a latex wall above Heather Langenkamp, looks like flat, uninspired garbage in this film as a digital effect that seems like a leftover from The Frighteners. And on a similar level is Platinum Dunes’ regular composer Steve Jablonski’s score. Where Charles Bernstein’s score for the original was fresh and inspired with a perfect nursery rhyme style theme, Jablonski’s score is forgettable and entirely typical. The original Elm Street theme appears only once, and that is when the film’s title card slams onto the screen. It’s never heard again, and once again shows how little reverence these filmmakers had for the property they were dealing with.
And while the supporting cast is decently well acted, no one stands out. No one really takes the stage and defines themselves apart from anyone else. I do think it was a poor decision to not have a John Saxon style character here. A mature adult character with compassion and a level head who could carry substantial weight with him. Yes, there are actors here with that capability, but the writing and directing take no advantage of the talents that it does have to make these characters anything but mediocre, drab, and shallow. The whole film does feel like it’s playing it a little too safe, including the acting. If they pushed the boundaries further, maybe it would be more engaging and potentially scary. Craven’s original film did things that were original, new, and innovative. This remake just comes off as a tired, passionless piece of merchandise.
Quite frankly, there was no one trying on this film. They followed the script like a blueprint and just created a film as flat as the paper that script was printed on. One of Platinum Dunes’ big problems is that they keep getting music video directors who have no experience with a script, actors, or crafting scenes, only in creating a three minute long marketable image for a band. They really need to get a real director who knows how to create an engaging ninety minute story with dimensional characters and coherent plotting. Not to mention, a filmmaker who can actually make a suspenseful, scary horror film.
When I woke up this morning, I didn’t even have this movie in my mind, but a great endorsement by another review motivated me to switch off the spoiler filled review and look up showtimes. The Conjuring is directed by James Wan, the man behind Saw and Insidious, a couple of horror films I have yet to see, but I’m more motivated to do so now, especially the latter. When a director demonstrates the level of tight grasp on taut, wicked suspense and horror that Wan does here, it puts him emphatically on my radar.
Based on a true story, the film tells the horrifying tale of how world renowned paranormal investigators Ed and Lorraine Warren (Patrick Wilson and Verma Farmiga) were called upon to help a family, the Perrons, terrorized by a dark presence in a secluded farmhouse. Forced to confront a powerful demonic entity, the Warrens find themselves caught in the most terrifying case of their lives.
I love many kinds of horror from slashers films to vampire flicks and beyond, but what really gets me excited is a film like this. A film that is all about the careful art of suspense and tension, and just thinking about what this film does to an audience gives me chills now. As with any “based on a true story” movie, there are potentially some embellishments from the filmmakers for dramatic or storytelling effect. Thus, that can allow an audience to slip a suspension of disbelief into this viewing experience. However, whether it’s all dead bang true or not, this movie is terrifying as living hell. My heart was pounding for five minutes after the film ended. James Wan is clearly a master at this craft because I’ve rarely seen anything this well executed. There is so much he doesn’t show you that utterly chokes the breath right out of your throat. He uses the pitch black dark corners of a house, making you project your own anticipations and imaginations into what lurks there. What these people say they are seeing will stand your hair on end, and when eventually Wan does reveal something to you, it will set your nerves on fire and jump start your heart like nothing else. Yet, this is not a film of jump scares. Every terror is subtly and brilliantly crafted and entirely earned. Things don’t just jump out of the darkness at you, they creep their way in under your skin, and scare the crap out of you. Wan does such a remarkable job showing you just enough to creep you out, and have the tension choke you up. A demonic face will ease its way into the frame, but will smartly cut to the next shot, keeping you on edge.
The film does have moments that could have been false jump scares, if handled by a much lesser filmmaker, but this film has so much better stuff waiting for you that it doesn’t need to fall back on cheap tactics. This film starts out ready to slam the fear factor into full gear. From the guy who made Dead Silence, it’s no wonder that a creepy, demonic doll jump starts the looming, pounding terror, and weaves its way back into the film later on. I just love that Ed Warren knows the doll is so dangerous, he has to keep it in a glass case with a sign that says, “Positively do not open,” in a room full of demonic artifacts completely out in the open.
Patrick Wilson and Vera Farmiga do an amazing job as Ed and Lorraine Warren, respectively. You can tell these are two people who have been through some intense circumstances because their bond is extraordinarily strong. All of these people, based on real life individuals, feel like fully dimensional, deeply human people. The emotions are strong, and the depth of belief in one another between Ed and Lorraine shows that a rare love would have to exist to keep these two people together through the hell they have experienced, first hand. Ed cares deeply for her safety after a terrifying exorcism incident really traumatized Lorraine, but seeing her strength constantly show through is amazing. If this is at all an honest representation of these two legendary paranormal investigators, my respect goes out to them just for their unwavering dedication to one another and what they do.
This film does a great job of balancing the story between the Warrens and the Perron family. Both of their stories are being told side-by-side and are interconnected. The fact that this entity latches onto both families compounds their problems makes for a greatly more intense story, and Lorraine getting more and more visions that frighten the hell out her just drives the terror forward incredibly intense.
Lili Taylor is taken on a real rollercoaster ride, and she handles it incredibly well. As Carolyn, she’s a wonderful mother and wife, but as these horrific experiences befall her and her children, Taylor sells the fear with grave importance. She and Ron Livingston work very naturally together, and no one here feels cheated on character or substance. All of the daughters are magnificently portrayed by an array of solid young actresses. Everyone feels like a real human being, and have very realistic chemistry and dynamics amongst them. Joey King has an amazing moment of paralyzing terror seeing something terrifying in the shadows that is never revealed to us. There is solid talent all throughout this cast that is absolutely impressive creating a very grounded, convincing realism to this extraordinary series of events.
The Conjuring also looks excellent as James Wan works with his regular cinematographer John R. Leonetti. They use light and especially shadow to brilliant effect. Few horror films really utilize the unseen mystery of darkness remotely as well as this film does. There are many moments where light bulbs are busted out, or very little light is present down to a mere match lighting up a whole creepy, spider web filled basement. It puts you so precariously on edge that you don’t know where or when the terror will come at you through that thick blackness. The cinematography really starts to get stylistic, in very good ways, during the climax. Many unique angles and good movement is utilized to surprising, clever effect. Yet, overall, the film is shot wonderfully never trying to distract or dazzle you with frenetic movement. Instead, there’s a lot of great still shots and flowing steadicam work to make this feel like this is a horror film with its feet firmly planted in the ground. It would’ve been easy for another filmmaker to make this feel like a 1970’s movie with a lot of film grain and handheld camera work, but again, this film doesn’t need much in the way of stylistic visuals to be amazingly effective.
And the score is greatly crafted and perfectly utilized. Most commonly used is a very low rumble that will rattle you with an ominous, foreboding feeling. The score never tries to over accentuate the scares. It’s right there in line with the intensity of the moment, and only strikes out at you when needed. This is a horror film that knows the value of silence, and the right time to tweak your nerves in the right direction with an appropriate music cue. You won’t find any clichés in the work of Joseph Bishara here.
And as any haunted house movie begs the question, this movie clearly answers why this family doesn’t just pack up and haul ass out of there. They’ve poured all their money in this new home as a family of seven in a new area where they don’t know anyone else. They have no alternative but to stay here. Yet, even if they did, the film has that great hook that the demonic presence has latched onto them. It doesn’t matter where they go, this thing is going to follow, and so, there is no escape. They have to confront and defeat this entity in order to move on with their lives. This is a horror film that has good doses of exposition, but it is handled so damn well that you are intently invested in every word that Ed or Lorraine relay to the Perrons. We see all of this come greatly to a head in a riveting third act.
When things ultimately go all to hell, the film ramps up the intensity so damn tightly. Anyone who has seen their fair share of horror films is quite familiar with the exorcism scene formula. While The Conjuring doesn’t do anything that will revolutionize that aspect of horror, James Wan still executes it will a lot of artistic merit and vision. Having the possessed individual covered in a sheet the entire time allows for the audience to project their frightening imaginations upon it, and think of just what this demonic entity is doing under there screaming and shrieking. The house shakes, birds crash into the windows, things are going insane, and just when you think the calm is setting in, it’s only elevating to the next level. There is so much hair-raising terror to be sucked into throughout this film, but I think it’s best sequence is when the Warrens’ daughter is being haunted by the entity and the possessed Annabelle doll from the opening sequence returns. Just thinking about it sends chills all over me. Typed words simply don’t do it justice. This is a film designed to tighten your every muscle, and strain every nerve across your skin. If you read my review of Sinister from last October, you’ll know how much that film scared me, and I would put The Conjuring right up next to that if not above it. The heart pounding terror continues to amplify throughout the film, and even the final moment of the movie still gets you in a really smart way that is never cheap. This is a high grade horror film with sophisticated filmmaking by a director who is clearly a master of the genre.
If you love being scared at the movies, and really enjoy something that is taut, chilling, and suspenseful, it is all here in The Conjuring. This film will indeed scare the living hell out of you. It is one of the most frightening horror films I’ve ever subjected myself to, and I look forward to being scared by it again and again. You should absolutely go see this as long as you’re not weak of heart because it will put a toll on it, for sure. This film earns every scare so brilliantly. There is just so much great terror on intense display that I could never cover it all, and there is no way I would spoil a single scare for you. Backed by a stunningly strong cast, especially in the case of Patrick Wilson and Verma Farmiga, you cannot go wrong with The Conjuring. This movie keeps giving me chills thinking about it. It is worth every penny you spend on your ticket and then some. This is one of the best horror films I’ve seen in years. Based on this film alone, I am going to check out Insidious, and then, hopefully look forward to Insidious: Chapter 2 coming this September.
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.
Horror film sequel subtitles are never all that clever, but it’s odd that this is called Freddy’s Revenge considering these are all brand new characters that Freddy has no past history with to seek revenge against. Nor is there any theme or hint at a revenge ideal here. That aside, this is a peculiar film in this franchise. As is no surprise, it was a rushed production since the first film was so financially successful for New Line Cinema. So, it really does lack all of the brilliance of Wes Craven’s film, but what makes it peculiar is a certain subtext that many are aware of by now. There are certainly detrimental qualities to this first sequel, but it’s not a terrible movie. Still, that doesn’t mean it’s particularly good or memorable.
Five years have passed since Freddy Krueger (Robert Englund) was sent howling back to hell. But now, Jesse Walsh (Mark Patton), a new kid on Elm Street, is being haunted every night by gruesome visions of the deadly dream stalker. And if his twisted soul takes possession of the boy’s body, Freddy will return from the dead to wreak bloody murder and mayhem upon the entire town.
The subtext in question is a rather obvious homoerotic subtext. It has been talked about at great length, and so, it’s nothing new I’m bringing up here. The 1980’s did have this bizarre homoerotic sensibility in the air, but this film, if any at all, seemed to have galvanized that all into a single 87 minute runtime. Screenwriter David Chaskin did write all of this into the script, but apparently, none were aware of it while making the film. There’s the constant bare-chested, sweaty scenes of Jesse every few minutes, there’s the S&M bondage club, the gym teacher getting stripped bare by Freddy, and the all too close relationship between Jesse and Grady. You’ve got, yet again, a bare-chested Jesse barging into Grady’s bedroom where he is asleep and mostly undressed to talk about Jesse’s sexual inabilities with Lisa. It is very obvious like a punch in the face, and that’s just the start of it. Jesse’s struggle with Freddy is supposedly a struggle with his own repressed sexuality. I will say it comes across loud and clear, but that’s not at all what Freddy is meant to be about. He’s not the manifestation of anything except your own fears, and this film doesn’t deal with that aspect of Krueger at all, ever.
I sort of like the idea of Freddy using someone else as a conduit into our reality. This is revisited in another way in The Dream Child and Freddy’s Dead, but it also doesn’t make a lot of sense for Freddy to transcend into our reality since he is essentially powerless outside of the dream world. The problem here is that Freddy kills no one in the dream world, and instead, goes after them in a slightly surreal waking world. Bringing Freddy into our reality, fully, feels wrong. The scene where he finally does this was so ridiculous to director Jack Sholder that he couldn’t direct it himself because of how hard he was laughing during it. The scene is not really scary at all, and is more silly than anything. Freddy just running around and randomly terrorizing teenagers at a pool party even sounds wrong in concept, and doesn’t work in execution either. Ideas like this are a big reason why Wes Craven stayed far away from this movie.
Even then, the kills are very forgettable and stock. One guy gets whipped to death, and another gets stabbed with Freddy’s razor glove. The rest are just slashed as the party. This grossly pales in comparison to the brilliantly imaginative kills in Wes Craven’s original. The innovative effects work created a darkly fantastical atmosphere of nightmarish deaths. That showed Freddy’s power and enhanced his menace. This film leans entirely on Freddy taking over Jesse as its sole hook of gruesome fantastical captivation, and it’s not remotely enough. There are a few nightmares, but there is not really any haunting or chilling imagery to crawl up under your skin.
What you absolutely have to credit this film with is holding true to the presentation of Freddy even if the concepts behind him are altered. Knowing how jokey and cheesy he became, it’s refreshing to see that this sequel didn’t start that trend. He’s still masked in shadows, and his voice still has that low, salacious quality. He feels concretely scary, and Robert Englund still puts his all into it. This is the most highly admirable aspect of this movie, and becomes more apparent in retrospect looking at the franchise overall. I just wish Englund had a better movie to complement that performance.
What make-up effects we do get are still great here. The best evidence of this is when Freddy crawls and tears his way out of Jesse in gruesome, frightening fashion. It is so excellently done. Also, the make-up on Freddy himself is still fantastic. Even in full light, it never appears cheap or rubbery like it would in later sequels. It’s all very admirable work that doesn’t slack off anywhere, and while there’s not much use of visual effects, they are of a comparable quality. I just wish there was a greater need for them to realize a more fiery imagination to rival the first movie.
The characters here are a divided issue for me. I do feel that Mark Patton does a fine job as Jesse. He’s fairly well written making him vulnerable and relatable. He’s definitely the kind of teenager that doesn’t quite fit in, and is easily picked on. Jesse has definite internal conflicts, but for a horror movie protagonist, he is terribly weak. He is both the intended hero and the main victim. That makes him difficult to invest yourself in because he is the furthest thing from a heroic figure. He is not strong willed at all, and essentially, is the polar opposite of Nancy Thompson. He’s not introverted like Tommy Jarvis in Friday the 13th, Part V, but it’s almost as bad having a main character who is nothing but troubled and full of angst when we’re looking for an inspiring hero. The fact that Jesse is absent from the third act, and it is his girlfriend who releases him from Freddy’s control shows how out of whack the concept here is. There’s really no one here to connect with as a hero or heroine.
Now, no one among this cast is really a poor actor, but the characters don’t really pop out at you. They are fine, but they don’t have that special quality of personality and chemistry to really come to vibrant life. Kim Myers is a potentially decent romantic interest, but despite a few moments of affection, she hardly feels like Jesse’s girlfriend and more like the best friend. There’s no hot spark between Patton and Myers to sell this the way it’s supposed to be by the time they’re making out at the party. The rest of the cast is essentially forgettable. They’re not bad performances, but it all does just feel flat and disposable all on its own. These just aren’t especially entertaining characters to spend time with.
The film deals with Jesse’s psychological elements very well. Mark Patton does put in a solid effort selling the terror and torment that Freddy puts him through. If this film kept true to Wes Craven’s ideas, I think it could have been a more effective and creatively satisfying movie. Making the struggle psychologically based could be very intriguing instead of a physical or ideological battle. Patton clearly showed he had the talent for the role, but even then, as I said, he’s never put into a position of strength to become our hero. He never really fights back, and is constantly running away from every confrontation with Krueger. Even at the film’s end, he’s still afraid and prone to Freddy screwing with him again.
Freddy’s Revenge is not a bad movie, and there are far, far worse entries in this franchise. However, it really is a misconceived sequel taking things in the wrong direction. It takes Freddy out of the dream world so much that you remove so much o the appeal of the original. All of the dream-like qualities are downplayed with only a few nightmarish images, and extremely few actually occur when someone’s asleep. The dream world is Freddy’s domain where he holds the power, and you want to see someone go into that world and battle Krueger on his own ground at his own game. This is Fred Krueger royally screwing with the film’s lead character, and turning him into his own puppet. That’s not very appealing. It’s just an example of rushing a film into production with talents that didn’t have much reverence for Craven’s material or ideas. It’s also not very pleasing that Christopher Young’s score does not include a single appearance of Charles Bernstein’s Elm Street theme, and is rather forgettable. Even if this was its own standalone movie, and not a sequel to a horror classic, I don’t think this would be regarded as very good, regardless.
So, thirty years later comes the remake which had one hell of powerful marketing campaign. Script wise, the film is practically a carbon copy, but does have a few minor alterations and better polished quality. It’s not a perfect film, but if my opinions of the original weren’t polarizing enough, I can tell you that I liked this 2006 film more in the first fifteen minutes than I did the whole of the 1976 version.
When a Vatican observatory priest sees the appearance of a prophesized comet, the Church is sure that it confirms the eve of the Armageddon. Meanwhile, the United States President’s godson Robert Thorn (Liev Schreiber) is informed in the maternity in Rome that his wife Katherine (Julia Stiles) has just lost her baby, and she had troubles with her uterus and would not have another pregnancy. Father Spiletto (Giovanni Lombardo Radice) suggests Robert take another newborn child, who lost his mother, as his own. Robert accepts the child and gives him the name of Damien. After a tragic accident, Robert is promoted to U.S. Ambassador to Great Britain, but years later, bizarre occurrences begin to center around Damien (Seamus Davey-Fitzpatrick). When his nanny commits suicide at his birthday party, a substitute, Mrs. Baylock (Mia Farrow), comes to work and live with the family, but Katherine has come to realize that Damien is evil. Meanwhile, Robert is contacted by Father Brennan (Pete Postlethwaite), who tells him that Damien is the son of Devil. Soon after, photographer Keith Jennings (David Thewlis) shows evidence to Robert that confirm Brennan’s prophetic statements. Thus, they commit themselves to a journey to discover the truth about Damien, and how to ultimately stop him.
What so immediately engaged me into this remake more than the original is the depth of real emotion and humanity in the performances. I really do hold Liev Schreiber in high regard. I think he’s really a fantastic actor with a fine range of talent. I love that you can see the deep concern he has for his adopted son, but also, the internal conflict he has over the secrets he hides from everyone about Damien. That knowledge is always in the back of his head, and builds up a sense of guilt as the foretelling words of Father Brennan become truth. While Schreiber surely doesn’t have the dramatic presence of Gregory Peck, Liev brings something more valuable with that depth of emotion and relatable humanity. He feels like a man with realistic struggles that define him as a conflicted, sympathetic person who only wished to bring happiness to his family, but brought evil in instead.
This remake wisely strengthens Katherine Thorn’s role. She is given so much more emotional turmoil to grapple with over her fears about Damien. Julia Stiles does a hell of a fine job. Where Lee Remick left me with nothing to say about her performance, Stiles brings a strong breadth of traumatic emotion. You can feel her pain seep through the screen with a lot of sorrow. The filmmakers added in a series of surreal and startling dreams for her which are very foreboding as manifestations of her fear. She is so afraid that there is something grossly wrong with Damien that the thought of this child being born from her psychologically and emotionally damages her. This creates further turmoil for Robert who does not know how to tell her the truth without damaging her or their marriage further.
The late and very great Pete Postlethwaite does a far more realistic job as Father Brennan. Instead of coming off as a frayed crazy man, he shows the immense fear and dread in the character. He’s very much a prophet of doom who sells that sense of doom with every fiber of his terrified being. It’s not a big splashy performance, but more subtle and foreboding.
I also enjoyed Mia Farrow’s different take on Mrs. Baylock. She’s very kindly and unassuming, but is actually so nice to the point where it seems like a mentally unhinged disorder. She makes the character the perfect nanny, to a fault. Farrow is much more subtle in how she plays the role, making her evil nature less obvious and more subversive. The performances of both Mia Farrow and Billie Whitelaw are excellent in this role in their respective films, and both work equally as well on different levels.
Unfortunately, David Thewlis’ turn as Keith Jennings is about average. It’s nothing tremendous, but it services the film decently enough. Between Thewlis and David Warner in this role, I would certainly choose the latter, even with that bad 1970s hair style he had. On the whole, the acting in the remake is more dimensional and real instead of the more surface level performances of the original. With a film that’s more heavy on ideas than plot, it is ultimately the performances which have to carry the film, and convince the audience of the validity of everything that is occurring.
On the down side, it is rather distracting how much of the dialogue is taken verbatim from the 1976 original. I honestly would’ve preferred if the screenwriter freshened it up a little. You can still stay true to the spirit of the original dialogue without making radical changes. Say the same thing in a different way is all I suggest. In fact, this screenplay differed so little from that of the original film, Dan McDermott was not awarded a writing credit by the Writer’s Guild of America for his work on the remake’s script.
One significant addition to this remake that I felt was very effective were the Vatican scenes. There, a Cardinal recites lines from a prophecy which correlate with real world horrific events. These events foretell the coming of the son of the Devil. I would say it’s more than a little controversial to use images of 9/11 to this effect, but one cannot deny the weight those images hold. It’s a very good sequence that really sets up an ominous feeling that something terribly evil is coming, and it is bookended at the film’s conclusion.
I also like that a scene I felt was poorly handled in the original, where Damien disappears on the Thorns as they take a walk, is revamped into a much more effective scene here. This time, Katherine pushing Damien on a swing set when she gets pulled away by a cell phone call. When she turns around a moment later, Damien is suddenly gone, and she realistically panics. It’s actually Damien playing a mischievous prank on his mom, one seems to take a little pleasure in frightening her with. It’s a much more realistic and tonally appropriate scene that also strongly establishes Katherine’s deep, motherly concern for him. The music here appropriately goes for a tone of dread as opposed to the original’s melodramatic punctuation.
This remake of The Omen does look absolutely gorgeous using a rich but restrained color pallet of ambers, blues, and greens. That coupled with some excellent, shadowy lighting creates a very moody visual atmosphere. While it might look a little too polished at times, on the whole, it’s a very well shot film. Director John Moore also made vibrant use of the color red as a signal of supernatural events which you can take or leave at your discretion. It’s artistic symbolism which I am generally indifferent about.
The score by Marco Beltrami might not be iconic or especially memorable, but it is entirely new and original. He goes for a more traditional score that enhances mood and emotion instead of bludgeoning you with bombastic music cues. It highlights the horror very effectively, and solidly supports the various subtle tones of the film. It is a very good piece of scoring by Beltrami which works immensely better than the overbearing Jerry Goldsmith score for Richard Donner’s original film. While Goldsmith’s would probably be a rousing listen on its own, apart from the film, Beltrami’s does what a film score is meant to do, and that automatically gets my praise.
Another thing that is mostly quite improved are the death scenes. The impalement might not yet be perfect, but it is far better executed with quicker timing and stronger impact through use of digital effects. Katherine’s fall from the balcony, again while not perfect, is vastly improved with a greater sense of the height from and force of which she falls. The decapitation death is pretty good giving us more gore, but it’s not as elaborate or prolonged of an effect. I could’ve done with a little less CGI where some of the latter deaths are concerned, but for the dramatic size of them, there really wasn’t much of an alternative for the filmmakers. Still, many of these deaths did hold more dramatic weight for me between the strength of the performances, and quality of the execution of each one.
On the opposite end of the critique spectrum from the original, the makeup design on this film’s Father Spiletto, the burned priest, is actually taken too far for my tastes. The extreme look feels out of place in the film evoking some sort of freakish ghoul. I can imagine it’s hard to present a burned flesh make-up design that is scary without it looking like Freddy Krueger. However, there must have been a happy medium these filmmakers could’ve gone for that would’ve felt more realistic. Still, what I can merit this version for over the original that the quality of the make-up is vastly superior.
Enjoyable so, this film actually delivered some suspenseful scares for me. This is, again, due to the atmosphere director John Moore forged for this picture. He is able to create some tension leading up to some frightening or traumatic moments. The characters are genuinely scared, especially Katherine, and become more so as events unfold which solidify their fears. Also, I mentioned before that there are a series of dream sequences. They haunt Katherine early on, but eventually, Robert Thorn starts having his own. I really, really liked these. They progressively got more creepy and disturbing. As most dreams do, they are a little hard to read into as what every image means, but on the surface, they showcase very occult and frighteningly evil acts which do feel in line with Damien. The final one, seen by Robert, is probably the best with some very chilling faces and images startling the Ambassador onward to what he must come to grips with.
I also really like that this Damien seems to be more aware of the power he has as he appears to silently conspire with Mrs. Baylock, at times. During the zoo scene, he’s aware that the animals are afraid, and likely of him. He uses his power against a police officer standing guard while Mrs. Baylock is in the next room committing murder. I will state that Seamus Davey-Fitzpatrick doesn’t have as strong of a look as Harvey Stephens did in this same role. He can appear a little too dour, but he is able to conjure up an eerie, unsettling expression when needed. He does quite well in the role. If the original film had been written with this more self-aware Damien, I think Stephens would’ve had an even more effective performance. In comparison, I think this Damien is better written while the original’s actor just had a consistently better look.
Now, while this remake generally takes the same amount of time for the same series of events to occur, what makes it work better, in my opinion, is the development of emotional depth and turmoil which establish a foreboding atmosphere. We get characters who are dimensional, and a director who knows how to create an ominous, foreboding tone. This version of The Omen definitely has a more natural flow of events with the emotional weight carrying the drama and horror along with cohesion. You feel the tragedy, horror, and emotion pile up from one scene to the next creating dramatic momentum. It’s interesting that both the 1976 and 2006 versions have about the same runtime, but this remake seems to move along at a smoother, quicker pace. There are even a few new scenes in the remake, and thus, this film is able to traverse a little more ground in the same amount of time. While little extra substance is added into the pages of the script, it really are the performances that add the substance. And while I criticized the 1976 original for taking just as long to develop its plot, the key difference here is that emotional depth which develops the characters, and creates that impending sense of dread that the original sorely lacked. This film always feels like it is building towards something whether in plot, character, or emotion. Robert Thorn has internal struggles he’s dealing with which show through in Liev Schreiber’s performance, and we see Katherine’s struggles very outwardly. The film gives the audience something to invest themselves in as the plot gradually forms.
So, obviously, without question, I do honestly believe that John Moore’s 2006 remake of The Omen is much more effective than the original. It’s better in vastly more ways than it is not. Still, while I believe it is a good film, it certainly did not propel The Omen into greatness in my view. I enjoyed watching this film, and I felt it delivered some very strong, well rounded acting with a real skill for atmosphere and horror. Yet, if ever someone were to revisit The Omen again, I would really like more substance put into the script, and add in some new ideas that enhance what’s already there. Develop things further to build more dire urgency into the plot, and make the stakes bigger or, at least, more real. This remake took some good steps towards that effect, but I think there’s still room for improvement, if ever another filmmaker wants to re-fashion The Omen for a future generation.
The Omen is one of those classic horror films that has received vast amounts of praise over the years. It was widely heralded upon release, and gained a powerful reputation of horror since then. It’s also a film that I have never paid much attention to. I’ve watched it a time or two before, owned the DVD for years, but it’s never really stuck with me. Six years ago, a remake was released that was almost a carbon copy, but I recall it having some things I liked about it. Still, I always felt that both versions came off about equal, in their own ways, but that’s an old assessment. So, on this Halloween, I have decided to take a fair look at both films to judge them apart from and against one another. Which one do I prefer? Which one does it better? I hope I will have an answer at the end of these two reviews.
Robert and Katherine Thorn (Gregory Peck and Lee Remick) seem to have it all. They are happily married, and he is the US Ambassador to Great Britain, but they want more than to have children. When Katharine has a stillborn child, Robert is approached by a priest at the hospital who suggests that they take a healthy newborn whose mother has just died in childbirth. Without telling his wife, he agrees. Years later, after relocating to London, strange events – and the ominous warnings of a priest – lead Robert Thorn to believe that the child he took from that Italian hospital is evil incarnate. The Ambassador is approached by photojournalist Keith Jennings (David Warner) with startling evidence that supports the claims of Father Brennan (Patrick Troughton). From there, both Thorn and Jennings must take a journey to uncover the truth.
After watching this, what I find striking is that, despite all the great talents and potentially ripe subject matter at hand, this film made barely any impact on me at all. I can tell you that the film starts me off on the wrong foot with a score that is way too overbearing and obvious, but I will get to that, in depth, later on. It sets the wrong mood for me right out the gate telling me this is not a film of subtlety, but one of shock moments and broad strokes. Turns out, that’s exactly what I got.
Early on, there is an extreme lack of suspense or setup to dramatic or horrifying moments such as the nanny’s hanging. It just happens without any buildup of anticipation or tension, and the traumatic potential is barely dealt with in the aftermath. Events that should have adverse emotional effects on the characters don’t seem to have lasting impacts. Even before that, there’s a wholly unnecessary scene where the Thorns are just walking along, and then, freak out when they don’t see Damien trailing behind them. The score goes melodramatic for a few seconds before they find Damien unharmed just standing around. The moment served no purpose whatsoever, and it was even handled in a very clunky manner. The film doesn’t take its time to craft suspense to setup an audience for the chilling moments of horror. It just sort of drops them in front of you like a bag of bricks.
The thing The Omen really seemed to not take advantage of is building a looming aura. While there are moments which are strongly implied as being supernatural, that feeling is just fleeting. We are never given a lasting sense that there is a subversive, sinister force weaving its way through the background. The film also seemed to lack a natural flow of events in its long first act, and partly because of this, it takes nearly forever to build an atmosphere or sense of perceived direction. It takes nearly half the film until there’s even a sustained sense of dread or momentum for more than one scene. In the second half, for a very long stretch of time, Damien’s not even present for the threat of what he is to be sustained. There’s a simple rule in good storytelling which is “show, don’t tell.” The film takes more time telling us about what Damien is instead of showing us. Anything we are shown feels too disjointed due to that lack of natural flow in the story. Also, I certainly have no qualms about a slow burning film, but it takes until almost the one hour mark before anyone gets motivated into the action of the plot. Until then, it sort of meanders along with mysterious and murderous things happening, but no one really doing anything in light of them.
This happens when Jennings begins to convey the foreboding details behind Damien. The notes of Father Brennan about the child, and the startling evidence of the photographs are revealed to Robert Thorn. These are interesting moments which actually do nicely give us insight into the truth of the matter. Yet, it could have been used to actually create a foreboding atmosphere of terrible dread and urgency, but there’s barely any atmosphere in this film at all. I never got a sense of impending doom or urgency at any point in time. The film becomes so focused on the origins of Damien and what needs to be done about him, almost no time it spent exploring what he’s capable of. While surely the son of Satan shouldn’t be allowed to live, no time is devoted to conveying what he himself will do if not stopped. There are obviously forces around Damien causing all this death and tragedy, but he’s barely done anything threatening. All we get are people repeating the Bible passage about “from the eternal sea he rises,” but no one bothers to translate that into terms a regular person can understand. It is never put into a real world context.
The priest’s death is a tad ridiculous as he just stands there for several long seconds, waiting for the spire to fall and impale him. There’s more than enough time for him to run away from it, but he just stands there. If I look up and see something falling from several stories high about to hit me, I lunge out of the way. This isn’t nitpicky. This is challenging the intelligence of the filmmaking on display. There are any number of better ways to have plotted out and edited that scene for more immediate impact. At times, such as this one, the filmmakers try to overdramatize these death scenes. Other times, they under dramatize them to where they have almost no impact at all. If you want a better example of these sorts of deaths done better, just look at the Final Destination films.
I dearly love the work of the late Jerry Goldsmith. He was a magnificent composer. However, when it comes to The Omen, I don’t think I’ve heard a score more devoid of subtlety in my life. Every single music cue is loud, verbose, and melodramatic to the point of it being obtrusive. It treats nearly every moment as the biggest dramatic, climactic moment in the film. It’s well composed, powerful music, but it’s just too over-the-top for my tastes. It just bludgeons your ears with music. Moments that are shot and executed with a lot of suspenseful tension are ruined by the blunt instrument of the bombastic score. People have praised this score as having made the film more terrifying for them. For me, it kills the mood time and time again, and tries to force more drama upon you than the scene calls for.
Gregory Peck was an immensely acclaimed actor, but I’m a little divided on his performance here. He does have a very good presence conveying a hefty weight of drama. However, I feel he overacts in a few too many scenes. He exaggerates the drama or horror of the moment a little too much, pulling the film out of its grounded sensibilities. It’s another aspect of the film that could’ve used some more subtlety. Following further down that path, actor Patrick Troughton pushes his performance as Father Brennan way too over the top into bad B-grade movie territory. It’s a one dimensional crazy man who is very hard to take seriously.
On the other hand, as always, I think David Warner is excellent. He’s one of the finest character actors around, and he really handles the role of Jennings with grace and urgency. I don’t think I’ve ever seen David Warner not give a good performance, and here, he really shows the value and quality he’s consistently brought throughout his career. Also, Billie Whitelaw is exceptionally good as Mrs. Baylock. She is effectively creepy with a definite psychotic edge, and a pair of fiercely evil, chilling eyes. I wouldn’t want that woman roaming around my house.
Harvey Stephens does a fine job as Damien giving him a rather exhuberant fascination that implies his evil. Although, that evil never really manifests in a knowing way. It’s more of a screenwriting issue that Damien himself isn’t very active in the plot. Regardless of that, Harvey mixes both the innocence of a child with an underlying, evil nature. You can tell there is something not right about the child, and that is effective enough for what the filmmakers were going for.
Unfortunately, I was left with a blank impression of Lee Remick. She has so very little to do as Katherine Thorn that I just have nothing to say about her performance other than it was okay. Normally, if I have nothing to say, I say nothing, but I thought it was important to mention this as it ties into a lack of emotional depth in the movie. That is something I will touch on, again, later.
The effects work is a slightly mixed bag. Most of the death scenes have very impressive and somewhat elaborate effects. The decapitation was especially well done. On the bad side, while people were amazed by the shot of Lee Remick’s fall from the balcony at the time of release, today, it looks comical. It’s more like something from a parody of the movie than an actual effect to take seriously. It has absolutely no realistic quality or impact at all. What would’ve improved it is shooting it at a slower frame to generate more motion blur, and thus, creating a sense of velocity and visceral impact. Richard Donner might’ve been going for a slow motion approach, but it clearly wasn’t shot in slow motion, just performed in slow motion. Also, the prosthetic make-up on the burned priest is very primitive by even the standards of the day. It’s terribly unimpressive work. These are only minor gripes, but the film doesn’t have a lot of make-up or visual effects to comment on. That’s neither a good or bad thing, just a statement of fact.
Another real problem I have with this film is that no one is scared out of their minds at any point. I mean, it is the Anti-Christ, the son of Satan they are dealing with, but never did I feel like anyone was in dreadful fear over this reality. At least in The Exorcist, the characters were petrified by the fact that they were facing down a demon, and their fear really carried the weight of urgency and threat in that film. Here, the closest we get is our final moments with Jennings as he tries to convince Robert Thorn that Damien is no innocent child, and that he should be destroyed. Even then, it’s more a matter of conviction than fright There is such a lack of emotional depth present in this movie which results in a very mild sense of fear. This is aside from something like the dogs attacking Thorn and Jennings in the cemetery. I’m referring to people having a deathly serious fear about Damien. The characters are more afraid of Mrs. Baylock, the psycho nanny, than the actual spawn of the Devil. To me, that seems really, really backwards. He might only be a small child, but if the kid is supposed to be perceived as apocalyptically dangerous, I think our fear should be directed towards him, instead.
While the film does have its potentially shocking moments of brutality and death, I think the scary qualities are entirely religious based, and I have no such beliefs. I watched this film waiting for it to give me something to be scared or tense about, but nothing ever came. Even the climax, aside from the violent confrontation with Mrs. Baylock, lacks a driving sense of dramatic intensity. It would seem that the subject matter is what scared audiences, not so much the execution of the ideas. I don’t think the style of filmmaking holds up thirty-six years later. While it’s rather well shot and edited, which I give much credit for to Gilbert Taylor and Stuart Baird, respectively, there’s just a lack of plot cohesion and momentum in The Omen. This film had talents who were masters at their crafts from Taylor and Baird to Goldsmith, Peck, and Donner, but maybe, this wasn’t the right material for some of them to tackle. Richard Donner tried to convince himself he was making a psychological suspense thriller instead of a horror movie, apparently because thinking of it as a horror movie made it uninteresting to him. Obviously, I can’t help but take a serious issue with that point of view. Yet, what he was trying to make was indeed a horror movie, and I don’t think it’s really his forte as a director. He knew how to shock an audience, but demonstrated no ability to even attempt to craft suspense. I think it just comes down to subtlety. It takes no skill to shock an audience. To genuinely scare them through atmosphere and suspense requires quite a lot.
Honestly, I didn’t expect The Omen to hit me as this blunt and shallow of a film, and I know there are going to be people reading this shocked at this severe criticism considering the film’s status as a “classic.” However, no art should ever stand on reputation alone. Time is not kind to all movies, and some do not stand that test of it. Not to mention, for someone who has no religious beliefs, I need more than just the ideas this film presents to scare me. You’ve got to work at it. You’ve got to earn it, and this film didn’t try hard enough. The only thing that did stick with me over the years about the movie were my issues with the score, and so, I did go into the film bracing myself for that. Still, I was willing to give the score a chance to showcase some subtlety, some grace, but there was next to none where it counted. I really wanted this film to give me something impressive, something that really grabbed me, but it gave me nothing. I was almost wholly underwhelmed by the 1976 version of The Omen. At this point, I cannot fathom why I even own this movie beyond the fact that I have it in a beautiful steelbook DVD case. The creepiest thing in the movie is the last shot of the movie, and I do mean by a very wide margin.
Based on the book by Andrew Neiderman, The Devil’s Advocate is an amazing supernatural horror film with a depth of strong thematic material. The screenplay, adapted by Jonathan Lemkin and Tony Gilroy, is executed with extraordinary artistic skill by director Taylor Hackford.
Kevin Lomax (Keanu Reeves) is a ruthless young Florida attorney that never lost a case that is recruited by the most powerful law firm in the world. In spite of his mother’s disagreement, which compares New York City to Babylon, he and his beautiful wife Mary Ann (Charlize Theron) accept the offer and the money that comes along with it. The firm’s senior partner, John Milton (Al Pacino), sees something very special in Kevin, and showers him with wealth and feeds his vanity. However, Mary Ann just wants to have a baby, and becomes distressed by Kevin always being on a case and never at home. A multiple murder case for reviled businessman Alex Cullen (Craig T. Nelson) tears them further apart as Kevin won’t leave the case for fear of hating Mary Ann for doing so. Feeling homesick, she witnesses horrifying apparitions, and starts to lose her grip on reality – or so it seems. As Kevin is lured deeper into a treacherous well of unholy evil and seduction, he will come to learn a startling truth that could claim his very soul.
Director Taylor Hackford delivers a very fascinating film where there is always something more subversive occurring beneath the surface. The courtroom and law scenes are never just proceedings, but a test of morality and conscience in a bigger picture. There is a strong sense that there is something larger at stake with everything that is going on. The audience can always feel a supernatural, sullen presence presiding over nearly everything in the film. This is achieved in many ways from the atmospheric lighting in key scenes to the shady religious themes to John Milton’s skillful seduction. The film does use a generous amount of religious context to massively profound effect. People are consumed by their own sins, and are given the means to embrace them without consequence, as long as they have no consciences to worry about. This is where tying this story directly into the world of defense attorneys and a shady law firm is brilliant. They are people dedicated to clearing offenders of guilt, regardless of whether or not they are guilty. For these characters, that requires a certain absence of conscience, and a dedication to deception, which are strongly prevalent themes in this film.
The moral corruption in the film is magnificently showcased through Mary Ann. She is a very wholesome woman who is thrust into a world of amoral people. They are pretentious, arrogant people that severely test Mary Ann’s psychological and moral resolve. She clearly is not comfortable around them, which is best displayed during and after the party scene, and just being around them begins to decay her mental stability. As she and Kevin are further driven apart, she gets worse and worse where the nightmares and isolation psychologically break her down, but that is ultimately not the worst of it. Kevin is corrupted differently as John Milton gives him the opportunities to feed his competitive edge and then some.
As I’ve mentioned many times before, I really do like Keanu Reeves. He’s a better quality actor than many give him credit for. This performance is a fine example. I like the dichotomy that Kevin is a very confident and in control person when he’s being a lawyer, but he sacrifices the stability and health of his marriage for it. He is so deeply ensnared into Milton’s charismatic web of temptation and power that he cannot perceive the moral destruction of his life. Reeves takes Kevin from those humble roots of a defense attorney who still has some conscience left to one who abandons it all for greater pleasure and glory. He loved his wife dearly, but ultimately, he is turned against her as they both deteriorate in this “Babylon.” Reeves shows early on that there is a humanity within Kevin, despite the unsavory things he does to secure a win, and that carries with an audience throughout the picture. As he’s corrupted further in New York, he never becomes a bad guy to the audience. We can see what’s happening to Kevin while he does indulge in the thrill of victory and hedonism alongside Milton. This is also partially due to being intrigued by John Milton’s mystique, the same as Kevin. We’re both following Milton down this dark path of temptation, and we cannot turn away from it. Emotionally, Reeves can be intense with one scene showing a horrifying outpour of grief and horror. Going into the climax, he delivers chilling conviction that ramps up the dramatic power of the film. Beyond anything else, Keanu Reeves also solidly and consistently pulls off that southern accent.
Al Pacino is absolutely amazing in this film. He indulges full boar into the hedonism and charisma of this role. It’s great seeing him cut loose, but he plays it very smartly, only letting the full measure out at the right times. Milton is definitely a tempter, a guy who opens the door, but never closes it behind you. He allows you to dig your own grave. He never seals your fate for you. Milton gives Kevin plenty of chances to back out, to walk away from the Cullen case to take care of Mary Ann, but he never takes it. He manipulates no one into doing anything they don’t want to do. He seduces your desires to the surface. The film smartly and slowly las the seeds of knowledge that Milton is more than he appears to be. There’s an unspoken power he has that gradually manifests in more and more dramatic ways as the film goes on. At a certain point, who and what he is becomes undeniable. Pacino’s performance is brilliant and vibrant. The scenes between him and Reeves are the real meat of the film, and they are a powerful pairing that do make this film excell in many ways.
Charlize Theron takes a powerfully emotional journey from that sweet, wholesome, and spirited small town woman to a horribly traumatized and vulnerable one. Mary Ann might’ve been a young lady to contend with in her small Florida town, but in New York, she is entirely overwhelmed by everything. She is incredible, and very brave for embracing the challenging demands of this role. She takes her performance into frighteningly dark places that she should be commended for. This is definitely an early breakout role for her, and it shows the incredible talent she possesses. Theron and Reeves have great chemistry, and are so deeply convincing from the passionate, happy couple to the terribly turbulent and fractured one.
The supporting cast has some solid performances from Jeffrey Jones as the gluttonous, arrogant, and abrasive firm partner Eddie Barzoon, Connie Nielsen as the intriguing and somewhat exotic Christabella, Craig T. Nelson putting in a heavyweight performance as the ruthless real estate developer Alex Cullen, and even a small role by Delroy Lindo as the goat sacrificing Phillipe Moyez, who has a dark mystique and implied supernatural power. This is a fantastically assembled cast in every single aspect, from even the smallest role all the way to the leads.
It should be no surprise that the stirring, ominous, and moody score is the work of James Newton Howard. It certainly has some gothic and choral elements giving the film a darkly cathedral sound. It is plenty haunting, especially going into the third act when everything becomes very wicked and surreal. It’s overall a striking and potent work that regularly maintains that unsettling and foreboding supernatural tone I mentioned before.
The film is also so damn well shot. The cinematography gives the film such scope and foreboding atmosphere. It brings profound grandeur and artistry to the thematic weight of the story. While Andrzej Bartkowiak hasn’t shot much worth noting, he does a remarkable job on this film teamed with director Taylor Hackford. That cinematography shows off the cultured and artistically modern, for the time, production designs. John Milton’s office and especially penthouse home are designed with gorgeous vision by Bruno Rubeo. The location shooting shows off the deep character of the city of New York. The filmmakers even secured the golden apartment of Donald Trump for that of Alex Cullen. This authenticity adds so much depth of detail to the film.
The Devil’s Advocate is definitely filled with an array of chilling images and grisly moments. These are all handled with immense weight and artistry. Digital effects are used greatly morphing one person’s face, subtly, into a demonic visage, or haunting Mary Ann with other surreal sights. The climax has some ambitious CGI between the morphing piece of artwork and the explosive fiery effects. However, the best moments of horror are more practical and psychologically based. They tap into the unholy evil that looms over everyone twisting peoples’ lives into a tangled web of destruction, and it creates thick tension and taut suspense. Something fearful has befallen their lives, and it is corrupting in ways they cannot comprehend. This is all masterfully and intelligently crafted with a strong atmosphere that is like the rumbling of thunder on the horizon. A dark storm is coming that none of them are prepared for, let alone can see.
The Devil’s Advocate has an amazing and stunning finale punctuated gloriously over the end credits by the Rolling Stones’ “Paint it Black.” This really is a magnificently conceived and executed film. Backed by an immensely talented cast, this delivers strongly with strong thematic material and brilliantly realized imagery that chills and frightens. Aside from some CGI that might not measure up to modern standards, there is nothing negative I can say about this film. While the 90s where not the best decade for horror, this is certainly one of smartest and most dimensional horror films of that decade which brought us The Exorcist III, New Nightmare, Lord of Illusions, In The Mouth of Madness, and Scream.
Paramount Pictures had run their course with Jason Voorhees, and gladly sold the rights to New Line Cinema for them to do with it as they pleased. What they gave us was something that remains a mixed result for many fans. Personally, I really love Jason Goes To Hell. I believe it to be a great, original storyline that dared to do something drastically different with the franchise. The filmmakers populated it with a very solid and impressive cast, and put together an inventive script.
An FBI sting operation at Crystal Lake succeeds in blowing Jason Voorhees (Kane Hodder) to pieces, and all believe he is permanently dead, except for bounty hunter Creighton Duke (Steven Williams). Interviewed on the news program American Case File by Robert Campbell (Steven Culp), Duke claims that Jason is not dead, and that he is the only one who knows how to send him to hell for all time. He sets a bounty of $500,000 to paid for doing so. Meanwhile, Jason’s demonic heart takes possession of person after person on a path of death back to Crystal Lake in the effort to be fully reborn in the body of another Voorhees. Coincidentally, Robert Campbell is dating Jessica Kimble (Kari Keegan), the daughter of the woman Duke seeks out in Crystal Lake, but he doesn’t get far as he is locked up for insulting the town Sheriff. The father of Jessica’s daughter, Steven Freeman (John D. LeMay), eventually encounters Duke after Diana Kimble (Erin Gray) is accidentally killed, and he learns the truth about Jason and what it will take to destroy him forever.
Many fans are content with just leaving all the origins and explanations for Jason being whatever he is unknown. However, at a certain point, a franchise has to look back on itself, and realize that some sense has to be made of its menacing slasher juggernaut that continually comes back from the dead. In this case, I believe Dean Lorey and Jay Huguely succeeded in conjuring a story that takes itself seriously while dealing with some fantastical ideas. This film turned the franchise around from its campy decent into cheap horror, and back into a far gorier and violent direction. It lays several implications upon Jason’s undead origins such as with the Necronomicon from Army of Darkness sitting inside the Voorhees house. Granted, it was likely a prop happenstance due to the same effects company working on both films, but it’s presence alone enhances the occult and supernatural implications of the film. It certainly helped spark the idea for a Freddy vs. Jason sequel, ultimately adapted into a comic book, featuring Ash Williams fighting against both slasher foes.
The addition of the Creighton Duke character was pure brilliance. A hard edged bounty hunter with the secrets to what Jason is, and what became of his family lineage injects that air of mystery and urgency into the plot. I have become a big fan of Steven Williams from 21 Jump Street to The X-Files. He’s an incredibly talented actor capable of a wide range of characterizations. As Duke, he’s got charisma that really grips an audience. He can have an mischievous wit when he offers answers to Steven Freeman in the jail, but also has an intense, captivating energy when finally delivering those answers. Duke’s a man with a dedicated purpose, and a confident, bold attitude backed by his rugged skill set. He doesn’t offer trust easily, thus, reinforcing a sort of loner attitude. He doesn’t back down from anyone, but has the intelligence to remain focused and level headed. He’s not blindly obsessed with destroying Jason. He knows he cannot do it by himself, and must come to trust that others will do what is necessary when the time comes. Creighton Duke is one of my absolute favorite characters of the entire franchise, right up there with Tommy Jarvis. Steven Williams’ performance is immensely entertaining and compelling.
On the opposite side of the hero spectrum is John D. LeMay as Steven Freeman. He’s very much just an average guy with no special skills, but has his motivations. He desires to see and hold the child he helped father with Jessica, and wants to see both of them protected from this murderous evil out stalking them. LeMay starred in the unrelated Friday The 13th: The Series where he solidly played a similar protagonist, but Steven is even more unlikely. He’s not at all a man of action, but when forced into extraordinary circumstances, he rises to the challenge by doing whatever it takes to survive and protect those he cares about. LeMay gives the role plenty of light-hearted charm, and an audience easily feels for him when things go terribly awry.
This is undoubtedly the best cast assembled for a Friday The 13th movie. There is just a wealth of credible talent throughout the ranks, and they are all handled excellently by director Adam Marcus. For the most part, they project a grounded feeling that works towards the very serious dread and horror that is present in this film. The diner owners, Joey B. & Shelby, are kind of comical, but in a way that sells Joey’s heartless exploitative nature and Shelby’s warmer sensibilities. However, Steven Culp is probably the best of the supporting cast giving us a very sleazy, unscrupulous news anchor in Robert Campbell. This is a guy who has deceived Jessica into a romantic relationship only for the chance to exploit her family for his own personal gain. Culp puts in an excellent performance as a character you love to hate, but there’s more to it that I will touch on later.
This is undoubtedly the goriest movie of the entire franchise. The filmmaker made the blood thick and plentiful. The scene of the coroner consuming Jason’s enlarged heart is beautifully disgusting and graphic. The gooey black blood oozes and splatters all over. It’s an amazing effect, yet again provided by the masterful talents at KNB EFX Group. They really went all out for this installment creating very elaborate effects which are seen in all their glory right there on the screen, in the unrated cut, of course. New Line Cinema was the first to officially release an unrated version of a film in this franchise, and this couldn’t have been a better film to do that for. The practical effects work is absolutely spectacular, and the visual effects are also highly impressive. There is nothing at all that is just mediocre or sub-standard in this film. Everyone was fully dedicated to making a high quality feature, and I applaud each and every one of them for that commitment and hard work.
Yet, this isn’t just a mindless splatter flick. There is plenty of classic Friday The 13th style suspense. Adam Marcus shows a talent for crafting solid atmosphere and tension. The film has a dark visual tone creating a gritty feel that tells you this is going to be straight-on horror. Lighting is quite moody with rich, deep blacks that really strengthen that hardened atmosphere. It’s a hell of a great look for this film that really sets it apart from the rest of the series in a very good way.
What many fans count as a negative mark against the film is that Jason himself is barely in it. He spends most of the runtime jumping from one temporary body to another in pursuit of a permanent resurrection. However, this does allow for an unexpectedly menacing and kick ass performance by Steven Culp while possessed by Jason. He tears through the diner massacre sequence savagely. It’s absolutely awesome. Of course, there is no discounting Kane Hodder, but he does appear lethargic in this film. Possibly, this is due to the padding added to his costume to reflected a bloated and malformed Jason. It definitely adds more bulk that works well in contrast to everyone in the film, but Hodder just seemed to have a harder time throwing himself into the end fight scene. Regardless of that, he still delivers a performance up to his established standards for Jason Voorhees.
Now, Harry Manfredini’s score in this film is a split opinion for me. It is quite good, and might be one of his best of the series. Unfortunately, instead of using an orchestra, the entire score is synthesized. He takes what he regularly would have done with an orchestra and apply it to a synthesizer, and it just loses far too much in that transition. While the composition is very good, the sound of shrieking strings on a keyboard sound like the score to some cheap direct-to-video horror flick. There are times it doesn’t sound that bad, but certainly from the opening credits and elsewhere, it has always given me that feeling.
I know I am not the only one who believes there are many places to take the Friday the 13th concept outside of its formulaic comfort zone, and to me, this film shows it can be done with the right ambition and talent. It’s certainly a concept that you will either like or won’t, and it’s understandable if you don’t. Many are happy to revisit the standard formula, and just see Jason killing innocent campers. However, I find that many franchises could use an infusion of new ideas. It’s only unfortunate that most times, those new ideas become bad ones that result in poor movies. Thankfully, the right talents were employed that did love the series, and wanted to do something more supernatural, graphic, and demonic with Jason without betraying the core of his character. Many would argue otherwise, but this is my opinion on Jason Goes To Hell.
I do hardly believe that even New Line Cinema was serious about this being The Final Friday considering they just picked up the rights to the character. The ending of this film blatantly and cleverly sets up Freddy vs. Jason, so, there were obvious plans to keep utilizing Jason however they could. Regardless of that issue, Jason Goes To Hell is one of my top favorite Friday The 13th films, and I feel it is one of the best and most successfully innovative of the series. There’s a first rate cast here that really push the film towards that more serious, convincing tone instead of one of camp, which is refreshing. The make-up effects are off the chart incredible giving us more gore than any other film in the franchise, before or after, but it has no lack of genuine suspense or terror. If you care for a return to more serious horror for this franchise, and don’t mind more fantastical ideas injected into the concept, I strongly recommend giving Jason Goes To Hell an honest chance.
After the horrendous Freddy’s Dead, New Line Cinema was willing to entertain ideas from series creator Wes Craven on a new entry to the A Nightmare on Elm Street franchise. This film is partly a return to form for the series, but also ventures into a completely and radically new direction. The entire film is set outside the realm of the franchise in our reality. Many of the main characters and cameos are people playing themselves, to a degree. Heather Langenkamp, the heroine from the first and third films in the series, plays herself. We also have appearances by Wes Craven, John Saxon, and Robert Shaye – all playing themselves with some creative licenses. Robert Englund is of course here, playing both a more eccentric version of himself and the demonic incarnation of Freddy Krueger.
Heather Langenkamp lives a content life with her husband Chase Porter (David Newsom) and son Dylan (Miko Hughes). However, her sense of safety is compromised by a series of unsettling phone calls which Heather believes are from an anonymous stalker. Coupled with this is some increasingly strange behavior from Dylan. Heather gains little comfort from her former co-stars Robert Englund or John Saxon about either her paranoia or concern for her son. While she does not allow her son to watch any of the A Nightmare on Elm Street films, with her promoting the ten year anniversary of the original, she cannot escape its looming shadow. She soon finds out that Wes Craven is planning on making the definitive Nightmare movie, and that he has been plagued by nightmares of his own. It has practically become an epidemic as the same disturbing dreams have come to Heather as well as Robert Englund himself. Craven eventually tells Heather that what is haunting them is an ancient demon that has been roaming from story-to-story since the beginning of time, but has come accustomed to Freddy. Now, it wants into our world, and Heather is the perceived gatekeeper betweens the realms of fantasy and reality since she was the first to defeat Freddy. Dylan is a key focal point of this demon’s plan to lure in Heather. As all the elements begin to converge, the world around Heather starts to transform into the twisted existence of this guised Freddy Krueger.
New Nightmare is a creatively successful film that was not a financial success in 1994. I don’t think New Line Cinema knew quite how to market this concept in a way that was concise to an audience. It’s a far more cerebral concept than had been introduced into the series prior, but even then, it still requires a good amount of exposition to get a handle on. It’s very strange that at the time of release I had never even watched any of these films, and hadn’t spawned my horror movie fandom, yet. Still, I was entirely aware of this film while no one else seemed to be. Thankfully, time has given it the respect and admiration it deserved.
Wes Craven absolutely wrote an ambitious and smart screenplay. I think this shows a maturing of his artistic sensibilities. This is very high concept employing ideas that could not be competently handled by just anyone. There have been plenty of poorly conceived and/or executed reality-bending films, but only a special few that have done it with inspiring results. While that’s mostly true of any genre, this is one that doesn’t have as high of an output, and is usually only tried when a filmmaker feels ambitious. Most fail because they don’t have the right intellect behind them to pull it off without becoming pretentious, contrived, or fall into a style over substance trap. The films that do succeed have visionary filmmakers behind them who know how to convey the concept smartly and effectively. In New Nightmare’s case, it connects you directly with the characters, and invests you in their plights while methodically building up its premise with fine dashes of foreboding tension and suspense. It treats its horror and gruesome deaths with real human emotion and grief. These are real people experiencing real terror and pain. Thus, it increases the dread and danger of their situation with a heavy weight that an audience can truly feel.
This film is exceptionally solid while it’s not so much slasher horror as supernatural, psychological horror. Craven relies more on subtle atmosphere and a series of creepy, unexplained events, much like a haunted house story, to scare an audience. There is some gore, but it is only in a few scenes. So, on a slasher film level, New Nightmare does feel very starved for gruesome bloodletting, and that does detract from the film for me. There’s not enough visceral pay-off for the building up of suspense and atmosphere. Heather is truly terrorized by what this demon does to her life, tormenting her at every turn, and claiming the lives of a few people closest to her as well as traumatically manipulating her son. Those elements are executed outstandingly well. You can feel her fear and frayed psychological state increase throughout the movie. Freddy has very restrained screentime, which is a pleasant change from his overexposure in previous sequels. Wes Craven instead uses the screentime to intelligently and clearly setup the reality transcending premise before unveiling the revamped Freddy Krueger.
This ancient demon has decked Freddy out in a generous use of leather, and a frightening new glove of razors. It’s no longer rusted, but very shiny and skeleton like showing off Krueger’s burned hand. The new make-up design is certainly fresh, but still looks like prosthetics instead of an organic piece of burned flesh. It’s certainly better than the very rubbery appearance we got in the last few films, but I’ve still seen better burned flesh effects elsewhere. Generally, the redesign does give the character a darker edge which supports the premise of the film, and that this is not actually Freddy but a demon taking on his appearance and persona.
All the actors are as great as could be imagined. Langenkamp is even more beautiful here than ever before, and her performance is very true to the situation, despite its fantastical nature. I refer mostly in regards to the parent-child relationship, and how she does whatever is necessary to protect her child. Now, while this film blurs the line between reality and fantasy, this applies to the presentation of the people. Much of the stalking elements in the story were taken from the real Heather Langenkamp’s own experiences with a stalker, and so, there’s a personal element to this story for her. Overall, she brings a great weight of maturity and strong emotion to a role that was likely challenging for her to grasp. It was bold and brave of her to put as much of her personal life on screen like this as she did, and if it wasn’t Wes Craven asking her to do so, I don’t think she would have done it. On a related note, Miko Hughes shows a wealth of talent, and is really endearing. Most kids in horror films tend to be annoying or worse, but he managed to be very likable and endearing.
Robert Englund, as always, clocks in with all he has. This time, his Freddy performance is intimidating and fearsome. There’s not a wisecrack to be had, and he still remains engaging as a dark villain. His screentime is quite limited until the final act of the film, but enough is done throughout the picture to increase his menace and power. I know for a fact that Englund did prefer portraying Freddy as darker, but most directors preferred the comical approach. Thankfully, Craven brought the character back to where he works best, and Englund did a great job there.
John Saxon also returns in a supporting role, and I’ve always had a fondness for him. He’s just such a captivating and marvelous actor with a very fatherly or commanding aura about him. He always inspires confidence, and consistently does solid work. I thoroughly enjoy every bit of work I have seen of him. Tracy Middendorf stars as Julie, Dylan’s babysitter, and really comes off as sweet and caring. She’s definitely the ideal babysitter. I could easily go on and on about the cameos and solid acting, but to sum it up, the acting in this movie is wholly satisfying and exceedingly far above slasher genre standards, as is everything with New Nightmare.
This is definitely one of Wes Craven’s best and most modern looking films. Director of Photography Mark Irwin gave the film a lot of visual integrity, firmly grounding it in a dramatic reality. There’s a nice use of blue tones that add to the atmosphere that Craven nicely crafted. This looks like a serious, intelligent film for a more mature audience, contrasting the more juvenile sensibilities of previous Elm Street sequels. Mark Irwin really showed a great ability to artistically shoot a suspenseful film, and it’s great that Wes Craven used him again on Scream. It’s only a shame that most of Irwin’s filmography after this were comedies, many of them rather stupid comedies.
The story behind the inception of New Nightmare is also interesting. The concept was spawned from a meeting between Wes Craven and New Line executive Robert Shaye. He wanted to know, from Wes, what he thought was done wrong with the series, and if the company had offended Wes in anyway. Craven made a number of valid points about Freddy becoming a comical buffoon, and Bob offered Wes the chance to rectify these errors. I’ve always liked that cordial mentality from Mr. Shaye who never cared for burning bridges, only building a better company built on professional integrity and respect. With that, New Nightmare came into being.
Even without comparison to the wreckage that was Freddy’s Dead, this film shines and soars high as one of the best of the series right behind the original film. The only major drawback of the film, I feel, is that this demon-as-Freddy is not dispatched in a very clever way. There’s really no fantastical element to it, as one would expect from such a fantastical concept. It is more of a physical method of defeating him instead of a supernatural, metaphysical, or psychological one. And even though I’ve never taken much note of J. Peter Robinson’s score, it is widely recognized as one of the best horror film scores around. Ultimately, this is still one to highly recommend alongside the 1984 original and A Nightmare on Elm Street 3: Dream Warriors. Those are the definitive classics of the franchise, and those reputations are rightly earned.
You didn’t think I could let Forever Horror Month go by without a look at old Fred Krueger, did you? I think A Nightmare on Elm Street came out at just the right time. The slasher film craze had exploded, but then, began to water itself down with all the imitators. There were still good ones out there, but it was already time for something fresh to shake up the genre. Something to bring it back to a terrifying and original concept that was conceived by a master in Wes Craven. Where the effectiveness of some other horror films have diminished over time for me. A Nightmare on Elm Street still holds a chilling nerve in my spine.
In the town of Springwood, on Elm Street, Nancy Thompson (Heather Langenkamp) and her friends are experiencing violent nightmares where they are stalked by a badly scarred man with a clawed glove of razors. When Nancy’s friend Tina (Amanda Wyss) is brutally murdered in bed one night, Nancy believes that it wasn’t Tina’s boyfriend who killed her, but the man who terrorizes their dreams – Fred Krueger (Robert Englund). Unfortunately, her claims are dismiss by her father, Police Lieutenant Donald Thompson (John Saxon), and her alcoholic mother (Ronee Blakley). So, Nancy, aided by her boyfriend Glenn (Johnny Depp), Nancy fights to stay awake to discover the truth behind Krueger, and find a way to stop him for good or never sleep again.
Right from the start, the film sets a dark, gritty, frightening tone with Freddy’s construction of his bladed glove. This film truly is a nightmare come to life with the shadowy boiler room being the perfect backdrop for Krueger. It’s damp, steamy, and filthy – a dangerous industrial environment for a sleazy, twisted killer. From there, the film haunts you with creepy, surreal images that touch your deepest fears. Once you are in Freddy’s realm there is no safe harbor. He wants you to know you’re trapped and ensnared in his sick, demented reality. He’s the master of the domain that is your dreams, and that’s what’s most frightening of all. He can violate you deep within your mind, and no matter how hard you try, you can’t go forever without sleep. Eventually, you are going to fall asleep, and that’s all he needs to have his way with you. Unlike other slashers, Freddy doesn’t just stalk and kill. He gains vast pleasure by psychologically tormenting his victims so that when he finally goes in for the kill, it will be all the more sweeter for him. Freddy is a glorious sadist. He both literally and figuratively feeds off your fear. It’s what gives him his power and pleasure. The glove was also a brilliant idea by Wes Craven. Most slashers just kill with whatever’s handy, but Freddy puts his own signature mark on his victims with a weapon custom built for himself. It’s a direct and distinct extension of his twisted personality.
Robert Englund instantly created an icon here built off of Wes Craven’s imagination. He absorbed himself into the weight and feel of this character through the amazing make-up effects, and the dingy, distinct wardrobe. The body language alone conveys a sickening individual who takes perverse pleasure in everything he does. Every little gesture with the blades, every wiggling of the tongue, every slinking movement creates a terrifying performance that burns itself into your psyche. The fact that Craven keeps Krueger so secluded in shadow, and only highlights certain aspects of his figure or face, enhances the intimidating power of him. This is the most vile rendition of Fred Krueger we have ever gotten, and I think it’s a real disservice to horror audiences that he became so campy and cheesy in the later sequels. I know Englund preferred going the darker route, but most directors preferred the comical punch. I cannot fathom why because Freddy proves to be his most frightening in his purest form.
Beyond just Robert Englund, the film is packed with a great cast. Heather Langenkamp steps into a strong lead role as Nancy. I love that the film sets up Tina as the potential protagonist, but swerves the audience when gruesome tragedy strikes. This allows Nancy to overcome her own grief and build herself up to a confident, smart heroine. Yet, she never loses her honest sense of compassionate emotion. Nancy does feel fear, very intensely, but she fights to conquer it every step of the way. Langenkamp looked and felt like a genuine fresh faced girl next door which made her performance vulnerable and realistic. The strength she brought to Nancy was incredible making an audience believe in Nancy through every terrifying moment.
Johnny Depp, in his very first acting role, is also great showing off the charm and talent we’ve come to know from him. As Glenn, he’s funny and sweet. I also believe casting John Saxon is always a rock solid choice. He brings a fatherly warmth to Donald Thompson showing concern for his beloved daughter. He’s also entirely believable as a commanding police officer with a fine screen presence which just exudes strength and confidence. Ronnie Blakley is quite remarkable as this drunken mother who is clearly unable to cope with the crime she helped commit. Amanda Wyss puts in a great performance selling the intense fear of Tina, and showing the subtle terror that trembles underneath. Overall, everyone in this cast does an immensely solid and greatly admirable job. They make this a film filled with character you can genuinely cared about, and thus, seriously fear for.
Wes Craven shows such a talent for suspense here. He carefully unnerves an audience with subtle sounds and glimpses of terror, firstly. Then, when Freddy finally reveals himself, it’s a truly scary sight as he torments Tina with a grin and a despicable laugh. Just as Freddy torments his victims, Craven uses those moments to freak out his audience to build up the suspense and tension. He prolongs the fear with masterful skill so that the pay-off will be frightening beyond your imagination. The kills are gruesomely brilliant with no lack of gore or blood. The screen is soaked in crimson many times in the movie., and the violent impact of those four blades slicing into flesh is always terrifying and shocking.
All of the special effects in A Nightmare on Elm Street are absolutely impressive and truly ambitious. Today, as the lackluster remake proved, a lot of these effects today would be done with severely unconvincing and unimpressive CGI. Back in 1984, everything was done practically, and the results are just astonishingly excellent. Even knowing how they did it takes away nothing from the viewing experience of the film. The movie magic is still there, and it is still massively effective. From Tina being dragged up the wall and ceiling of her bedroom to Freddy’s form pushing through the wall above Nancy as she sleeps to all the subtle tricks and slight of hand to achieve so much, these are timeless, classic images that are the result of talented, innovative minds. They entirely sell the chillingly surreal qualities and power of Krueger. It’s amazing that they achieve so much on a budget that was less than $2 million. Compare that with the $35 million budget of the 2010 remake which couldn’t pull off the same effects with even a fraction of the artistic quality or effectiveness.
Charles Bernstein beautifully score this film with just the right approach. The main theme is instantly recognizable with its sort of nursery rhyme melody, but has a haunting, foreboding quality lying behind it which is purely brilliant musicianship. The score, in general, is purely enveloping with a wide, rich range using synthesizer in gorgeous fashion. It disturbs and unsettles at nearly every dark turn. The sound design works in tandem with the score by fully immersing an audience into Freddy’s world. The sounds of the boiler room come to magnificent life in a full surround sound experience. I think it’s one of the best audio presentations of any horror film I’ve ever heard.
Again, what really sets this film apart from its slasher brethren is the psychological aspect. Freddy isn’t a killer you can simply outrun. He’s lurking in the dark recesses of your dreams, waiting for you to fall into his clutches. It’s amazing to me that Wes Craven is such a sweet, easy going, regular guy, but is able to delve so vividly into the chilling imagery and nature of nightmares. Scary experiences from his childhood forged many of these inspirations, but so much touches a frightening nerve, such as the bloody corpse of Tina in the body bag beckoning to Nancy, that it demonstrates Craven’s creative brilliance. He taps so deeply into the mechanics of horror, and is able to craft beautifully gruesome images that could dig their way into your own subconscious. I think Craven is at his best when he’s pushing horror to a higher level beyond the visceral. Whether it’s the psychological aspects of this franchise, or the mystery aspects of the Scream films, he has a unique quality to inject into horror films that I really enjoy.
A Nightmare on Elm Street is a horror classic that goes beyond just the slasher genre. It was created by a team of greatly talented and dedicated individuals in front of and behind the camera. No other film in the franchise quite matches up to the dark, pure horror quality of Wes Craven’s original. While there are sequels with their own enjoyable and respected qualities, there are many which simply lost sight of what horror was, and diluted the powerful and effective tone of fear the franchise was built upon. Regardless of disappointing sequels or poor remakes, the 1984 original will always stand as an eternal horror classic.
Good werewolf movies are very hard to come by. That was until I came across Wolf a few years ago. Fronted by two amazingly electric actors in Jack Nicholson and James Spader along with a very tantalizing Michelle Pfeiffer, I couldn’t love this film more. It’s a different approach that is far more modern and character driven with these supernatural aspect slowly weaved into the plot.
Worn down and out of luck, aging publisher Will Randall (Jack Nicholson) is at the end of his rope when his co-worker and protégé, Stewart Swinton (James Spader), snatches both his job and wife out from under his nose. However, after being bit by a wolf on a snowy road, Will suddenly finds himself energized, more competitive than ever, and possessed with amazingly heightened senses. Meanwhile, Laura Alden (Michelle Pfeiffer), the beautiful daughter of his shrewd boss, begins to fall for him – without realizing that the man she’s begun to love is gradually turning into the creature by which he was bit.
As should go without saying, Jack Nicholson is excellent in this movie. He gives us a performance that is mostly low key with modest manner and sense of heart. He’s a man living a less than stellar life, and that downtrodden feeling seeps into the cracks of the performance. There’s also the increasing worry about his wolf bite that truly begins to affect Will adversely. However, of course, Nicholson is able to turn on his mojo and even delve into a feral side that is fierce and primal.
It’s slightly humorous how the enhanced senses manifest in Will Randall. There’s a few funny moments, like being able to smell the tequila on a co-worker early in the morning, or how he doesn’t even realize that he can read perfectly without his reading glasses. However, it takes a more unsettling turn when he can start hearing far away voices throughout his office complex. Still, the film is able to maintain an occasional sense of levity mostly from the charisma of Nicholson and Spader. I love how the wolf instincts make Will more aggressive, able to take stand against his co-workers and boss. He becomes a man of bravado and cutthroat actions instead of a weaker willed pushover that he was. So, at first, this is all a good change in his character, but gradually, the wolf bite effects begin to take a more ferocious and bloodletting turn.
James Spader is wonderfully sleazy, as appears to be his regular strength, as Will’s apprentice / rival. Stewart is conniving and deceitful with no ethical or moral compass. He’s a real snake in the grass that will smile to your face while stabbing you in the back, and Spader makes it a richly enjoyable performance. He really excels in these kinds of roles, portraying them pitch perfect to make the character detestable while still being wholly entertaining. Awesomely, he gets the chance to just go full boar with it by the end with a very fearsome performance. This really is all the vile, juicy Spader you could ever want.
It’s surprising how good the chemistry is between Nicholson and Michelle Pfeiffer. There’s a nineteen year age difference between them, but that seems to work better for these characters. Will Randall is a more worn out, tired career man while Laura Alden is young, vibrant, and intriguing. Pfeiffer certainly has a seductive aura about her that creates a dangerous air to the relationship. There’s plenty of sexual charisma to spare with both her and Nicholson. Overall, she does a tremendous job with this character who does have a harder, jaded exterior with a more approachable, comforting core.
The supporting cast of Wolf is also stellar. Most notably is Christopher Plummer’s gracefully egotistical, but also authoritative Raymond Alden, the owner of the publishing house. He carries a substantial weight as this slightly ruthless boss who insincerely sugar coats things. He has a great presence and a subtle way of acting that results in a lot of dimension coming out on screen.
The mystical ideas of the demon wolf are beautifully conveyed. There’s a grounded sensibility from Dr. Alezais when he tells Will of the lore. It’s not the ravings of some wild witch doctor, but of a man of science and research. He believes in the possibility that this mystical lore is true, and he sells the dreaded reality of it very convincingly. It comes at the right point in the film where both Will and the audience have experienced enough to believe that something supernatural is taking a hold of him. So, we are all ripe to fully believe what he has to say.
I love the make-up effects from Rick Baker, a go-to master for werewolves from his work on The Howling and An American Werewolf in London. While it is just some added facial hair, fangs, and yellow contact lenses, the visual of Nicholson in this make-up is frightening. He looks like a wild animal that would stop your heart at the real life sight of. Yet, he’s not the only one. Although, I do not wish to spoil anything, but the make-up is extremely creepy upon the face of another actor.
Director Mike Nichols had this film shot in a way that was rather uncommon for the time it was made. In many cases, it feels like a classic monster movie in its cinematography. Preferring some dramatic camera zoom-ins over dolly shot push-ins, using rear screen projection during the driving scenes, and employing conservative editing resulting in some beautifully long takes, it partially feels like something from the black and white era. Yet, it is such a brilliantly shot, composed, and executed film that it undeniably has a modern edge and beauty to it. There’s a great sense of artistic horror and suspense to appeal to modern audiences. There’s not much gore here, but there is a wealth of ferocious veracity that will satiate your desire for intense, horrific, primal violence.
The climax is absolutely wild. Everything really converges in an animalistic confrontation that delivers in a hugely dramatic and savage high point. How it all ultimately ends is tragically heartbreaking and powerful. Yet, it still has a nice quirky and mesmerizing punch right at the end, too. Mike Nichols’ ability to pull off these complex tones which mesh unsettling tension with a dash of quirky humor is really marvelous. How this film progresses from a light drama about Will Randall’s inter-office politics and his developing romantic relationship with Laura to a full-on werewolf horror film is amazing. That’s actually why this film works. It builds these characters up into a realistic setting with convincing relationships and conflicts. They are charismatic and entertaining characters that really invest your interest. Then, the film gradually builds up the supernatural wolf element as it begins to affect Will’s behavior from a re-invigorated, confident man to a frightening metamorphosis that he deathly fears. It’s a wonderful twisting arc that never loses credibility or its grounded sensibilities. The conflicts it establishes, and the relationships it grows remain an integral part of the story all the way through. It really is a stellar work of screenwriting by Jim Harrison and Wesley Strick, and a brilliant directing job by Mike Nichols.
Add in an excellent score by the legendary Ennio Morricone, and you’ve got one hell of a great film that I dearly love. It’s a real gem I only discovered a few Octobers ago, and have really wanted to share my admiration for it for a long time. Wolf was actually delayed into release by several months to completely re-shoot the entire third act of the movie. Whatever they did is entirely seamless. I cannot see any deviation in quality or story to hint at what was changed. There was no novelization, and no script available online to find out what the original third act was. I’m certainly intrigued, but the film that was released is entirely amazing and I wouldn’t change a thing. As I said, good werewolf movies are hard to come by, and I think Wolf is a surprising pleasure. There was no shortage of remarkable talent behind this film, and that talent shines through in every moment. I think it’s a great and original horror films with a lot of entertainment value to offer any audience.
I haven’t been a loyal follower of Tim Burton’s career, but the films I have seen from him, I very much do enjoy. Sleepy Hollow is a very pleasant entry in his career, collaborating with Johnny Depp, that strikes the right balance between Burton’s quirky humor and dramatic gothic storytelling. It’s fun, exciting, and scary all at the same time.
Constable Ichabod Crane (Johnny Depp) of the New York police arrives in the small village of Sleepy Hollow in 1799 to solve a mystery of murders. With all the victims found with their heads missing, everybody in Sleepy Hollow is talking about the ghost of the “Headless Horseman.” He is supposedly out in the woods seeking revenge for his murder many years ago. Crane, believing only in logic, refuses to believe the public’s theory about the horseman and begins his investigations, only to find his faith shattered when he himself encounters the headless horseman. Yet, he is compelled to resolve his investigation after falling deeply in love with the beautiful young Katrina (Christina Ricci). Their fates intertwine as Ichabod attempts to unravel the supernatural and wicked mysteries that threaten everyone’s lives in Sleepy Hollow. It’s a magical tale of sense against myth.
While I think general audiences today are a little worn out on the repeated Burton-Depp collaborations, Sleepy Hollow is an excellent piece of work that’s worth your while. Depp does a brilliant job as Constable Crane. He brings a certain young naivety to the ambitious investigator. He has bold new ideas about using science and intellect to deduce crimes that his superiors lightly dismiss. The contrast of everyone’s grim, fearsome attitudes to Crane’s more upbeat mentality creates an amusing dynamic. Crane is definitely intelligent and educated, but Depp’s clever, delicate balance between the serious and the tongue-in-cheek tone of Crane makes him such a delight. True to the source material, Ichabod is somewhat cowardly, but he can muster up courage when it counts. Beyond all else, he’s determined to resolve this twisting mystery that seems to have an air of conspiracy about it. That’s what makes him a character to invest yourself in. Despite his own trembling fears, he picks himself back up and pushes forward to finish what he began. Depp shows a lot of sweet charm and humor making Ichabod a pure hearted hero that both amuses and inspires.
I will absolutely admit that I once had a fascination with Christina Ricci. She’s a beautiful and highly talent actress who doesn’t shy away from challenging material. What she gives us as Katrina is a lovely, graceful young lady that is indeed bewitching. She carries an ethereal aura about her reflecting Katrina’s depth and purity of soul. Ricci and Depp have a gorgeous chemistry that really lights up the screen, and enraptures an audience with their magic. They are such an excellent fit that I’d love to see more of them together.
At the time of release, it was kept a secret that the Hessian Horseman was portrayed by Christopher Walken. It was an added pleasant surprise when I first saw the film in 1999. Aside from some animalistic grunts as he slays his victims., the Horseman has no lines of dialogue, and doesn’t need any due to how he is portrayed and presented. It was a great idea to tell the Horseman’s story early on to have the bloodthirsty psychotic face embed itself in the audience’s minds. The Horseman filed his teeth to a razor sharp point that made him appear more frightening in his enemies’ eyes. It’s an amazing, ferocious design that sends a chill up your spine, especially in conjunction with Walken’s charismatic physicality. It’s also great that the Horseman is not the ultimate villain, but a weapon used by a treacherous conspirator.
Tim Burton really culled together a magnificent cast with several veterans of stage and screen as well as some fine young talents such as Casper Van Dien. Adding in some Hammer Films alumnus like Christopher Lee and Michael Gough was a very nice touch. Miranda Richardson has a wonderful turn in this film that she seemed very enthusiastic about throwing herself into. Her overall performance is marvelous.
The visual effects of Sleepy Hollow are astonishingly good. Just getting the Headless Horseman to become a reality on screen was a big challenge, I’m sure, and there is nothing but top notch quality on display here. The various decapitations and other gory slayings are phenomenally done. What else would you expect from Industrial Light & Magic? The effects never cease to impress throughout the entire movie. The film has a generous helping of blood and gore to make some squirm or jump in their seats while others will simply relish its exquisite glory. The practical effects are seamlessly integrated with the digital effects for a visually amazing experience. I cannot praise this work highly enough. While there are some silly moments with the visual effects, they are perfectly at home in a Tim Burton movie.
The gothic aesthetics of Tim Burton are realized in a magnificent way. The film has a slightly desaturated, gritty look giving way to a more grim feeling of looming danger. Sleepy Hollow is shot beautifully, strongly maintaining that dark tone of horror and tension. Yet, there are plenty of picturesque sequences, such as a series of dreams Ichabod has which further enrich the fantastical, and sometimes, enchanting aspects of the movie. This truly is a visually gorgeous film in a style that could only come from the imagination of Tim Burton. And of course, Danny Elfman created a powerfully grandiose score that fits perfectly with Burton’s gothic stylings. It is a stunning, sweeping piece of work that enhances all the dark, lovely, and magical atmospheres of Sleepy Hollow.
This movie really is a lot of fun. Burton doesn’t take it too seriously as he applies his own dark comedy to the more violent, gruesome moments. So, while the Horseman is chasing down and chopping off the heads of hapless victims, there’s usually a humorous quirk in there, but Burton keeps it in check. He never allows it to compromise the dramatic integrity of the story, and instead sort of does it at Ichabod’s expense, which is entirely fitting. Said story has plenty of mysterious aura and thrilling moments of tense horror and suspense. The Horsemen, head or no, is very scary and intimidating. He’s mercilessly violent and very smart. There are superbly executed plot twists that are never cheap. This is a smartly crafted screenplay which weaves its way around these solidly conceived characters. The secrets and manipulations abound under the surface of this quiet village make for a fertile ground for this sort of story. How everything is unraveled in the end is quite wicked.
That said, this has a hell of a great climax with plenty of fiery action and dramatic revelations. Characters are kept in serious peril as it becomes a race to save lives while the Horseman in unleashed once again. Action and suspense build up to a highly energetic and exciting level, and the pay-off is quite ironic and fitting. It is all very satisfying tying up all the plot and character threads with that classic Tim Burton wit and charm.
This is a beautifully crafted film in every aspect. It’s a visual masterwork backed by an excellent script written by the deeply talented Andrew Kevin Walker with a story co-developed by Kevin Yagher. The latter of the two also worked on the creature effects here, and doing a remarkable job at it, too. There are many tried and true Tim Burton talents who were involved with this film which instilled it with an amazing depth of artistry and talent. The film definitely delivers on exciting tension and fearsome scares with a light air of dark, quirky humor. It also weaves an enchanting love story through its haunting and startling mystery. I really, really like Sleepy Hollow because, beyond everything else, it’s just a fun watch with plenty to take pleasure in. This is truly one of Tim Burton’s finest outings, and I’m glad that Johnny Depp was along for the ride. They both do a brilliant job through every frame of this film. I give Sleepy Hollow my full recommendation. It’s more than worth your while.
It’s difficult to explain what this sequel is. It apparently exists in a world where The Blair Witch Project was just a fictional movie, but the Blair Witch herself actually does exist. That’s very hard to wrap your head around. This is one confusing movie which is nothing at all like the movie that preceded it. This script seems like it was never finished as if the screenwriters came up with all these clever little psychological plot twists, but never had the time to conjure up any answers to them. The film is certainly creepy, but I really don’t know what it is about it. There are a good number of surreal events in this film. It’s like a very large dream that no one wakes up from until the very end. And it’s not about perspective, it’s about the illusion of reality – did it really happen that way or not? Everyone swears that it happen like this, we saw it happen right there on the screen, but then, we have undeniable proof that it happened completely differently. Don’t know what I’m talking about? Well, that’s how the film has left me feeling all these years.
The movie starts out documenting the phenomenon that was The Blair Witch Project with television clips of movie reviewers, news casts, and fans talking about the film. One of these fans is Jeffrey Patterson (Jeffrey Donovan) who was inexplicably an ex-mental patient, a fact that is never truly explored. Jeff now runs The Blair Witch Hunt, a tour guide of everything Blair Witch – including merchandise. We learn that Jeff is not a fan of Burkittsville, and they are no fans of his – especially Sheriff Cravens (Lanny Flaherty). The two seem to have a degree of implied history with one another that strains many events throughout the film. Regardless, Jeff gets four people to sign up for his inaugural tour – Kim Diamond (Kim Director), the hot goth chick, Erica Geersen (Erica Leerhsen), the real-life witch and a student of Wicca, and Tristen Ryler (Tristen Skyler) and her boyfriend Stephen Ryan Parker (Stephen Barker Turner). The five venture out into the wilderness, and spend a night on the foundation of Rustin Parr’s house. Strange things happen that night, and when they wake up, they have no knowledge or memory of those events which leave many baffling questions for them. Although, it is only the beginning, and things are going to get much more bizarre and surreal before it is all over. As the movie goes on, each character’s sanity unravels in unique fashions in the face of bewildering paranormal events. Some are paranoid, some are hysterical, some are in denial, and some become very, deeply disturbed as they ultimately cannot discern what truly is reality.
The confusion with this film stems from a jumbled mess of editing and structure. At times, you will inevitably be disorientated simply by the flashbacks, flash-forwards, and flashes back to the present. It destroys any cohesion the film might have had, and of course, this was all studio imposed. The directors original cut was entirely linear, and I would like to see that version. However, that is merely one element of the larger mess. The latter half of the film takes place in Jeffrey’s isolated warehouse in the woods where he lives and works. That’s where all of the hallucinatory and reality bending hysteria takes place. Everyone suffers from it with some horrifying imagery, and there are a few revelations, but only one that really explains anything at all. Simply stated, we are presented with one reality as we watch events unfold on film, but video footage from Jeffrey’s camcorder and security camera footage reveals an alternate series of events occurring. Neither of which are given any more credibility as being truer than the other. What this movie gives us is a massive load of strange questions without so much as an attempt or even a hint at an answer. This is a film which leaves you bewildered at the end. I don’t demand that a film blatantly answer every question or explain every little detail, but to leave an audience with absolutely zero evidence as to a theory of the truth is simply insulting. You have just wasted an audience’s time on a completely nonsensical film that simply throws contradictions at them without a resolution.
This movie was directed by Joe Berlinger, the same man who brought us the Paradise Lost documentaries about the West Memphis Three. Those films really hit me hard, and made me a long time supporter of the three men who were wrongly convicted. Berlinger captured every bit of emotion there was to capture, and allowed the audience to come to their own conclusions regarding this crime and the three youths that had been convicted of it. Berlinger chose to do the same here, and he states as much on his audio commentary.
In Book of Shadows, he presents everything entirely objectively as he wanted the audience to make their own decisions on what was reality. Unfortunately, there is such a lack of substantive information or theory presented to us on how or why things happened to form any sort of conclusion as to what did truly happen. We have absolutely every reason to believe what these characters swear to as the truth because we’ve spent the whole film witnessing it with them. However, the video tape evidence is shown to fully contradict all of that. One has to be the truth, yet both are equally, undeniably true, and the film ends offering you no reasoning as to why this is. This concept can work if prefaced correctly. A filmmaker has to respect his or her audience by telling a complete story which is cleverly structured and plotted to offer enough intelligent content for answers to be formed from them. There can still be some mystery or ambiguity at the end, as I praised The Usual Suspects for doing, but a film or story needs a point of view for an audience to latch onto so that they can understand where it’s coming from and where it is going.
There is just so much left unanswered it heavily hurts this movie. If the filmmakers had attempted to craft a smart and effective story, things surely would’ve been better. Whether the revelations had been acceptable or not, it’s far better than not trying at all. If you’re going to craft a reality bending, perception twisting film, you need to pay-off these surreal elements at some point. Anyone can throw a series of strange and contradictory images up on a screen, and not explain any of it. It takes talent to make sense of them all, and have them connect in a cohesive and intelligible story. There’s no drama or tension in being left hanging with a question you cannot even guess at an answer for. It’s like a joke without a punch line – it turns into a waste of everything good that was put into it. You build everything up, and then, you just let it hang their at the top of the peak. I could imagine someone like David Lynch doing this film, and while it would inevitably be far more bizarre, it would have the artistic depth and nuance to eventually discern a hypothesis as to the truth.
However, Book of Shadows: Blair Witch 2 is well acted, very well shot, and well directed in certain aspects. It is not a frightening film or a splatter film, it’s a creepy, eerie film. It’s got atmosphere and tone to spare, and the production values and design are quite engaging. I think that’s part of my intrigue for the film. It looks absolutely gorgeous with its distinct autumn colors, and the tall, long afternoon shadows. Autumn is my favorite season, and this film captures the atmosphere and look that I love so much about the season. This deeply permeates through the entire movie. There are numerous chilling moments throughout the film which are greatly executed. Despite its storytelling failings, Book of Shadows delivers on some solid horror content which proves there were some skillful talents involved. There’s a definite psychological element which chillingly surfaces every so often, but since none of it amounts to anything purposeful or substantive, it’s just there for atmospheric effect. The same goes for all the weird ghostly images and strange occurrences. They’re effective in creating a very haunting and surreal experience, but ultimately have no meaning. This film proves that it doesn’t matter how talented you are in creating suspenseful, atmospheric horror if you don’t have a good story to tell. I can give a film more credit for having a great story and script even if the technical aspects aren’t all that good than the reverse.
This was the movie that introduced me to Jeffrey Donovan who I have enjoyed heavily the last few years on Burn Notice. Despite how bizarre the film gets, Donovan still stands out as a strong and interesting lead. He handles all of the unusual demands of the role well, and he makes his character very entertaining while still dark and off-beat. He’s backed up by a cast that is equally as capable even if there’s a lot of poor dialogue to trudge through. This could’ve turned out as a worse film due to the nonsensical layers of strangeness present, but the acting talents involved keep it solidly on-point in terms of tone. There was definitely strong artistic and creative potential here. Unfortunately, studio interference from Artisan Entertainment forced numerous editorial changes to the film that Joe Berlinger was not pleased with. It altered the structure of the film with the various flashbacks and flash-forwards along with some added graphic imagery and the asylum scenes with the Jeff character. Again, Berlinger’s cut was an entirely linear story that might’ve played better, but surely, would have offered no more explanations than the ultimate release version did. Another critic that I know has called the ending to this film “mean.” It’s like a big middle finger to the audience because the film bombards you with all this bizarre imagery and mountain of questions, and it vehemently refuses to answer any of them for you.
I think this is another film that I’ve always liked for its potential. I used to think there was something vastly intriguing about it, despite its confusing flaws. However, I think my fascination with it was based mostly on the visual quality of the film along with the pieces of a potentially very good twisting and mysterious plot. This is a very prime example of a film that was not fully developed or well managed during its scripting or pre-production stages, and then, was mangled up further by a studio that just wanted more blood and shock imagery. Berlinger had the talent for taut suspense and heavy atmosphere creating an exceptionally creepy horror film that a studio simply couldn’t appreciate. I’m sure his director’s cut is probably a more coherent watch to an extent, but it’s still a heavily flawed film from concept to execution. Not even Joe Berlinger’s audio commentary offers a haven for a single answer. The film is presented too objectively, and that’s its real major flaw, too bad it practically overshadows the entire movie. And no, the title’s Book of Shadows appears nowhere in the film, nor is it ever mentioned. It is a Wiccan book containing religious texts and instructions for magical rituals. As I said, the movie is very well made on a technical and tonal level, and the cast is filled with some very fine talents. It had a some good things going for it, but it failed to provide a pay off. Any great mystery requires a great reveal, but no attempt at one is present here.
This film was based on the novel A Stir of Echoes by Richard Matheson, and David Koepp, the screenwriter and director, made a hell of solid and smart thriller out of it. Koepp has plenty of fine credits to his name ranging from generally good to great films. While there are a few black marks on his filmography, he showcases a vast amount of solid talent with this nicely crafted supernatural thriller that is Stir of Echoes.
Tom Witzy (Kevin Bacon) lives with his wife Maggie (Kathryn Erbe) and his son Jake (Zachary David Cope) in Chicago. They live in a neighborhood with a good reputation, but at a party with a bunch of his neighbors, the narrow-minded Tom dares his open-minded sister-in-law, Lisa (Illeana Douglas), to hypnotize him. She does, but when she implants a post-hypnotic suggestion for him to ‘open his mind’, he begins to see disturbing and confusing visions. His son has an imaginary friend called Samantha (Jennifer Morrison), but Tom soon realizes that she is not imaginary. She is the ghost of a young girl that is now terrifying and driving Tom towards strange ends. As the horrific visions intensify, Tom realizes they are pieces of a puzzle, echoes of a crime calling out to be solved, but when his other-worldly nightmares begin coming true, Tom wants out. He desperately tries to rid himself of his eerie, unwanted powers – only to be seized by an irresistible compulsion to dig deeper and deeper into the mystery that is consuming his life.
Kevin Bacon absolutely does an incredible job in this role. He really absorbed himself into it adopting a subtle Chicago accent and a textured blue collar working man appearance. His physicality is very raw, and it helps that he seemed to be in excellent, lean shape for this film. He pushes the performance through every fiber of his body with a powerful nervous energy and charisma that is electrifying. Bacon portrays the increasing obsession and near psychotic behavior amazingly well. His manic intensity becomes scary like he is going off the deep end, which is quite the truth. On the flip side, he shows the heart of Tom Witzy with a lot of genuine depth. Beneath this crazed obsession, he is a deeply caring husband and father with a touching levity of heart. It’s good to see the real man before this psychic awakening occurs, and thus, we get full context on how drastically he changes and what he’s jeopardizing with his crazed behavior. There’s ultimately a lot of compassion and humanity in this man who starts out with a bit of an abrasive attitude.
Playing perfectly off of Kevin Bacon is Kathryn Erbe. She also shows a strong range from loving, bright wife and mother to woman of fire and conviction when Tom goes further out of control. Erbe and Bacon have very honest and heart-filled chemistry which is a main strength of the movie. Zachary David Cope was a fine young actor here. While he has an appropriate innocence and cuteness, he proves to have a mindful intelligence to portray the nuances of the role. Acting opposite thin air to an unseen ghost is definitely a challenge, but Cope really showed a lot of promise here. Sadly, it was only second and last film acting role. The remainder of the cast does equally fine jobs building up a realistic community of dimension characters that ground the film very firmly.
Stir of Echoes is definitely a spooky and startling film with a tight pace. It keeps a nice unsettling atmosphere going as Tom is very unnerved following his hypnotic awakening. As the visions begin inflicting more graphic images upon Tom, the more freaked out he gets, and the more the tension of the film rises. It’s an entertaining and fascinating descent into manic hysteria which just drives the film’s suspense and danger to a more chilling height. When the film hits those peaks, it gets the heart pounding very strongly. It winds itself up to a frightening full head of steam once the third act slams itself upon the audience. While it’s not a rousing climax that is practically horror-based, it definitely resolves itself properly. It builds upon the more underlying qualities of the film, namely the characters and the community they inhabit.
Thus, I really like the character driven strength of this supernatural thriller. It’s a ghost story that doesn’t boil down to defeating an evil specter, but instead, helping find justice for an innocent soul. Showing the quality of this seemingly tight knit Chicago neighborhood plays an important role in the story, and it’s nicely developed and demonstrated to ultimately explore the heart and soul of these people, no matter where they might lie.
Admirably, this film boasts some very good visual effects. From the ghoulish effects to make Samantha a frightening apparition to the hypnosis sequence in the theatre, these are all consistently top notch effects. The ghostly make-up effects work done on actress Jennifer Morrison are very haunting and unsettling. She did a fine job in that aspect as well as the living Samantha in the flashbacks late in the film. She was a very sweet, shy young woman that is a worthy of the sympathy and tragic value put on the character. While the “shot in reverse” movement is a clichéd trick to give a creepy quality to her ghost, it is still very effective.
Now, I also have to admit I find a bit of pleasing notoriety from the theatre scenes when Lisa hypnotizes Tom. They were shot at the Rialto Theatre in Joliet, Illinois where my high school graduation was held the year before this film’s release. I really love that the filmmakers shot on location throughout the Chicago area bringing a real authentic feel to the neighborhood and other locations. There’s one shot where Tom’s up on a telephone pole making a call to Lisa, and it pulls back to reveal the Chicago River and Metra trains rolling by. It’s a location I am very familiar with, and it just creates an honest sensibility that I commend. Chicago really is a diverse and beautiful city that deserves to be shown off more prominently in film and television, and this is a small gem that takes pleasant, if small advantage of that.
While David Koepp is the sole on-screen credit for the screenplay, there was some work on it done by Andrew Kevin Walker (Se7en). So, I would like to share my praise for the quality of the script with them both. I’ve never read Richard Matheson’s novel that this was based on, but Koepp and Walker clearly had an intelligent foundation to build upon. The story never goes for cheap clichés of the genre, and instead, stays focused on its smart supernatural thriller path. The film makes it a point that it is very focused on Tom Witzy from early on, and the script follows that path very steadily. It keeps the audience in tune with what he’s experiencing, and we are able to relate to him even when he becomes more irrational and brazen. He’s intensely driven to uncover whatever it is he needs to in order to shut these psychics visions down. He himself becomes connected with Samantha, even if he doesn’t entirely know what his purpose in all this is. So, we follow him on this haunting journey that is exceptionally well executed by David Koepp. It surely helps this film that there was a highly effective score put together by the immensely talented James Newton Howard.
While this turned out to be a bit shorter review than I usually post, I think the quality of Stir of Echoes has been well conveyed. It’s not a very complex story, but it lacks no depth of character or scares. It won’t slam bang you with horror, but it has a solid atmosphere, some startling, graphic imagery, and air of compelling supernatural mystery that is very satisfying. Seeing the film is worthwhile for Kevin Bacon’s exceptional and amazing performance alone. He really showed a very wide breadth of talent and commitment here that I find incredible. The only iffy aspect is that I’m sure the climax would feel stronger if there was an actual supernatural element added into it instead of a straight physical confrontation. However, I’ll say again that it suits the more character based sensibility of the story, which is somewhat refreshing to see, and does support the idea of needing a living person to resolve things instead of a vengeful spirit stalking and killing people. So, I certainly do not knock the climax one bit, but an audience could feel like a little extra punch was desired after all the spooky paranormal happenings throughout the film. There’s just not much of a climactic pay-off for the scary elements in the film. Overall, I do highly recommend Stir of Echoes as a smart and suspenseful film that has some refreshing turns on the old ghost stories premise.
I rarely go see horror films theatrically because, mostly, today’s horror genre just hasn’t been my style. The few times I go, it’s usually a general letdown. However, the trailers for Sinister were effectively suspenseful and scary to where I had to work up some courage to see it. And now, after having seen it, yeah, I wasn’t courageous enough for it. This is a damn good horror movie, one of the scariest I’ve ever seen.
Ellison Oswalt (Ethan Hawke) is a true crime novelist who has moved his family into the house where a grisly family murder once took place. He hides this fact from his wife and two children, but the locals know the home’s history, especially law enforcement. The town’s Sheriff (Fred Dalton Thompson) even attempts to convince Ellison to pack his things up and leave right away, but he is not deterred as writing this book maybe the one big paycheck he needs to get his family back on their feet, again. When Ellison discovers a box of mysterious, disturbing home movies depicting a series of family murders dating back to the 1960s, he believes they are all connected to the one he intends to write about. However, what he doesn’t realize is that he has just plunged his family into a nightmarish experience of supernatural horror. The evil that claimed the lives of these families is now threatening them.
I just have to start out with the fact that this film choked me up with tension and suspense so much, my heart was damn near pounding out my chest. Even as the end credits rolled, I needed a few minutes to calm back down before standing up and leaving. Sinister delivers on scary. Usually, I view the word “scary” as a lightweight term, but here, I want to give it a full heavyweight treatment. The film has a methodical pace. It sets up the creepy atmosphere from the very first shot, and it sent chills up and down me, as much of the film did. I like that it slowly eases the audience into a supernatural ideal. Ellison is repeatedly skulking through the darkness of his new house at increasingly louder and more overt noises. While it got to being that I just wanted him to flick on a light switch, as most anyone would do in near pitch black chasing weird sounds around the house, the sequences are just hair raising suspense at its finest. These sequences gradually build upon one another until the supernatural element is impossible to deny, and becomes far more intimidating as they occur. The biggest chill probably hits when Ellison is tracking the creeks around the house, and what he can’t see are the ghosts that are stalking him everywhere he goes. Even the few false scares serve a purpose for the characters, and overall, every scare is sharply effective. Sinister scared the hell out of me. No other film has done that since The Strangers.
The story is smartly crafted setting up Ellison Oswalt’s situation hiding the truth of the house from his wife, his own struggles with whether he’s doing this for the financial security of his family, or just to bask in the spotlight, again. There are nice moments where Ellison is watching old TV interviews from when he clearly had a more optimistic and altruistic attitude. His younger self talks about how he writes these books for the sense of justice instead of money, and it shows just how desperate Ellison’s point of view has changed. The decline his career has taken forces him to do something far more deceitful and amoral by moving his family into the house of a murdered family, and hiding that from them. It puts more stress upon him, and eventually, coupled with the strain these snuff films put on him, he begins to drink quite frequently. It pushes the inner turmoil to the surface, and further enhances the outer conflicts of the film. Everyone can see there’s something troubling him beneath the surface, but he’s so hesitant to speak of it for fear that it will ruin his efforts with this book. He might be selfish in that regard, but he’s not without conscience.
As Ellison views these Super 8mm films, we are right there with him feeling the gruesome, unspeakable horror that he is witnessing. He is clearly disturbed by these films, and you can see the recoils and reluctance he has in sitting through them just for the sake of his book. Beyond just seeing them, there’s the knowledge that every frame of film was shot by the murderer. The killer wanted someone to see these as a foretelling omen of what will happen to them, and ultimately, the plot works this into the supernatural elements smartly and perfectly. Ellison’s investigation is very smart as he uncovers more and more clues, revealing more detailed evidence as he digs deeper. The film keeps the mystery alive all the time, and sucks you into it every step of the way. As more is discovered, the more frightening everything becomes, and the danger increases with every passing night for the Oswalts. The addition that their son Trevor has had night terrors for most of his life, and that it is acting up more than ever just builds upon the unsettling nature of the house, and the evil that is haunting and stalking them. Of course, since Ellison is intent on keeping the truth of the house a secret for as long as possible, he refrains from taking more rational action to keep the family safe. I also like that, early on, he has the impulse to call the police after watching the films, but backs away from it thinking about the best seller book he needs to write. If he hands everything over to the cops, his book is inevitably done for, and he shies away from pursuing that course. These actions never made him unlikable in my view as he is trying to do something that will financially put his family at ease, but eventually, he’s gone too far down this ill path for the police to realistically do anything.
Ethan Hawke really is damn good as Ellison Oswalt. He’s in essentially every single scene, and gives a lot of dimension and relatability to the character. Ellison is a caring father to both his kids showing deep concern for their well being, and always thinking about them, most of the time. When it comes to his wife Tracy, portrayed strongly by Juliet Rylance, there is definite conflict. She worries about his well being, fearing that he will become an emotional wreck, and fall down an ill path they’re both familiar with. He tries to reassure her, and keep her away from the disturbing truth. However, when the truth eventually gets out, the confrontational scene between them is immensely realistic. The argument has a few bits of levity as Ellison spouts out pithy excuses for putting them into this situation, but ultimately, it’s a very emotionally visceral scene. Hawke conveys the fear, turmoil, and horror of the character with powerful realism, and carries this film greatly, without a doubt. It’s just an exceptional performance all the way through maintaining the humanity of the character, and Hawke keeps the tension and terror alive through his performance.
Juliet Rylance holds up equally well. While she doesn’t get much chance to encounter the fear and horror of the film, she is a solid actress who has excellent chemistry with Ethan Hawke. They both bring realistic depth to the history of their marriage, and the emotions that she puts in the role couldn’t be stronger. Both child actors, Michael Hall D’Addario and Clare Foley, do an amazing and commendable job. Every single performance in this film is very sternly rooted in reality, and both Michael and Clare bring likeability and a strong dramatic foundation to their characters. As a whole, this family feels solidly cohesive and real with their own sets of unique problems and personalities. It’s excellent casting and stellar acting through and through.
Fred Dalton Thompson’s always impressed me with his authoritative presence, and he brings some of that with a dash of genuine fairness that a Sheriff should have. He only has two scenes, but he makes a solid impression on an audience. He tells Ellison that he’s not much of a fan of his books, and doesn’t appreciate the criticism and ill attention he brings with him. Yet, he proves his fairness in his second scene with a concern for the Oswalt family’s safety.
I also want to acknowledge the performance of James Ransome as the local Deputy. What starts out as an awkward and somewhat star struck character becomes a guy you can take more seriously with a show of intelligence. Being a fan of Ellison’s work, the Deputy offers to assist him with some research, and as he does, he becomes more wrapped up in the gruesome reality of these murders. He notices the patterns of the crimes, and shows his worth as a capable police officer. Ransome offers up a fine balance of low key charm and heart with an honest seriousness. He becomes concerned for Ellison when things start to become more stressful and disturbing for him, and gives him some sound advice while never disputing the validity of anything Ellison has recently experienced. It’s a surprising highlight of this film, and getting those few moments of perfectly pitched levity are very welcomed.
Beyond just the dark scenes at night, this is a visually dark film all the way around. I’m not sure of why even the daytime scenes are masked in heavy shadow and even silhouettes, but it sure adds to the slightly claustrophobic atmosphere of the film. Nearly all of the film takes place in that house, and it hardly ever feels warm or inviting. Every scene is given just enough light for the purposes of that scene, but does lack a natural quality since almost none of the indoor lights are ever used. When it gets very dark, it’s only highlights to make out a face, a figure, or a doorway. It’s highly effective, but again, it is a little bothersome that Ellison Oswalt never does just switch on a light to see what’s going on. At least one scene has the power go out entirely, and he has to navigate via his cell phone flashlight. Overall, it is an amazingly well shot film with just the right compositions and framing to service the various moods and tension. The editing is damn good as well allowing shots to linger in order to build up that choked up suspense waiting for the next chilling moment to unfurl itself upon your senses.
All throughout the movie, the score was shockingly powerful and effective. When I saw the end credits, I knew why the score so fucking good. It was done by Christopher Young. This is the man who created the powerful and iconic scores for the first two Hellraiser movies. For Sinister, he cranks up the nail biting, skin crawling, electrifyingly suspenseful music higher than ever before. The tension gets so thick because of his prominent and intense score. This is a masterwork of horror soundtracks that enhances every moment exponentially by its presence. While a few of the clicks and clacks in certain scenes were a bit distracting, overall, this is nerve racking brilliance. It’s especially effective over the Super 8 film clips which have no sound of their own. So, it’s just the gritty visuals with this verbose score playing over them, and it just couldn’t be anymore heart pounding than it was.
This really is a horror film that treats its audience with maturity and intelligence. The investigation aspect doesn’t have Ethan Hawke explaining every little detail to you. It trusts in your attention to detail and intellect to put the pieces together. Thus, it never gets redundant. It keeps moving forward, and gives you enough information to keep you in sync with Ellison Oswalt. You process things as he does, and the pace of the film allows you to do so. Vincent D’Onofrio uniquely portrays Professor Jonas, a local expert on occult crime at the local university, and he is able to shed light on the occult symbols Ellison discovers in the film footage. He explains what they all mean, and possibly what supernatural entity is stalking his family and is responsible for all these murders. This aspect of the film is very smartly conceived and executed. It’s another part of that gradual building of the supernatural elements. You’re not bludgeoned with them from the start. They subversively creep into the film until it saturates it completely. It’s beautiful work that not enough horror filmmakers strive for these days. There’s practically no gore, but plenty of graphic imagery to have you recoiling in terror.
Sinister is frightening to no end hitting you with shocking imagery and chilling sequences that are still sending a shiver over me as I type this. The very last shot of the film is a very unnecessary jump scare, and I imagine it was just the filmmakers wanting to get that extra punch in at the end. Still, that could’ve been done with a strong music cue, but I won’t fault the film over that cheap bit. In a horror film so well crafted, I can afford them that much. I am quite surprised that this was directed by Scott Derrickson who, a long time ago, directed the direct-to-video failure that was Hellraiser: Inferno. Oddly, I caught a few minutes of it on cable the night before seeing Sinister. It’s a gigantic leap forward in talent and skill that I couldn’t admire more. Derrickson also co-wrote the Sinister screenplay with Christopher Robert Cargill, who is actually a movie critic. So, it’s quite pleasing to see this sort of combination work so successfully. Simply said, this is one of the best horror films I’ve seen in a long time, and I strongly encourage you to go see it! I don’t think you could at all be disappointed in it. It’s likely to scare you right out of your skin.
While I have only ever seen two films directed by macabre horror writer Clive Barker, he is actually one of my favorite filmmakers. Hellraiser was the first reason, but this film, Lord of Illusions, is the biggest reason. Released in 1995 in the midst of a bad stretch of time for the horror genre, Clive Barker was ambitious in telling a film noir detective horror story. Theatrically, the film was not well represented with a lot of pertinent, quality scenes cutout for a tighter runtime, and box office was not very lucrative. I cannot find a record for the film’s budget, but I’m sure it exceeded the box office gross of $13 million. Thankfully, the home video market allowed Barker the opportunity to release his definitive director’s cut of this excellent film, and I can’t imagine anyone watching this film in any other way.
New York private detective Harry D’Amour (Scott Bakula) finds himself repeatedly drawn into disturbing supernatural events, much to his strong reluctance. He takes an insurance fraud case in Los Angeles as a change of pace, but soon, he finds himself in the world between illusion and true magic. The world’s greatest illusionist Philip Swann (Kevin J. O’Connor) is killed in a graphic on-stage accident, and Harry is driven to discover the truth behind it. Hired by Swann’s gorgeous wife Dorothea (Famke Janssen), Harry delves deep into the secretive world of magic, and encounters dangerous foes including the peculiar, yet lethal Butterfield (Barry Del Sherman). What Harry uncovers is that a cult leader named Nix (Daniel von Bargen), who could perform real magic and taught Swann to do so as well, is feared to be able to defy the grave that Swann and Dorothea put him in, and will return to exact horrific revenge upon the world. What Harry D’Amour may come to realize is that death is the ultimate illusion.
The film sets a very dangerous, foreboding tone right from the outset. A series of grim images of a decrepit, desolate wasteland open the picture telling you that dark, evil forces await us. This opening sequence shows Swann and his friends confronting Nix and his followers in the Mojave Desert thirteen years prior, and sets the stage for where Harry D’Amour will enter their unsettling lives in the present day. It clues you in on exactly what horrors Nix was capable of, and why Swann and his estranged friends now fear his return so gravely. The production design of Nix’s stronghold is perfectly macabre and disturbing. It has that dead-on Clive Barker dark, gritty style with a sort of grotesque beauty. It is photographed with a generous amount of shadow using the light to accentuate only certain sections of the environment. This style carries over into all the visually darker scenes creating a gorgeous film noir style. This is just a beautifully shot movie in any condition of light or shadow. While cinematographer Ronn Schmidt doesn’t have much in the way of high profile films to his résumé, I can surely tell he had a major wealth of artistic potential when coupled with the right director.
Clive Barker magnificently proves his talent and worth as a filmmaker here. I think Lord of Illusions really is a masterpiece of supernatural noir horror. It’s a greatly intelligent film that blends two very comparable genres together in a beautiful way. The film sets up the horror elements first with that amazingly chilling opening sequence, but doesn’t really explain anything to the audience. So, as Harry D’Amour is pulled into this plot, we still have questions that need answering, and it is a dangerous path for Harry to walk to reach those answers. There are plenty of secrets that many would kill to have or to keep hidden, but Harry is an intelligent enough hero to see through the spook tactics and walls of deception to get to that truth. The moments of horror are powerful such as the flashes Harry has of the exorcism he was involved in. The sight of the stark white demon is nightmarishly striking. Dorothea also has visions of blood and death which tell her that Nix’s return is soon to come. Butterfield’s strange lackey Miller also provides much in the way of savage gore and violence. How he survives a third story fall to the pavement enhances the bizarre nature of the film’s foes. Clive Barker knew how to use film as a canvas for brilliant brush strokes. Melding so many different complex aspects of this story would not be easy to do, but he had a clear and vibrant vision which he was able to realize. Not to mention, he brought us one of his absolute best creations ever.
I really love the Harry D’Amour character as portrayed by Scott Bakula. He is endlessly fascinating to me. A hardened private investigator who gets caught up in all manner of supernatural danger is so ripe with potential. The fact that he is reluctant to be wrapped up in this world, but is inevitably drawn to it makes for a great character dynamic. He’s a man that has subscribed to many faiths in his day, possibly to attempt to find answers or solace for the evil he has faced. It shows he’s a man of a wide open mind, but not without his skepticism. True to being a detective, he accepts nothing purely on face value alone. He has a probing mind with a keen intellect that makes him an interesting hero to follow. He’s intent on unraveling a mystery in a world built upon secrets. Scott Bakula gives a warm, soulful quality to D’Amour that comes to life opposite Dorothea. He also shows Harry to be a capable and confident man of action making him a very well-rounded character. He’s smart and perceptive as well as having a good heart that contrasts the darkness he’s engulfed in. Bakula did research the role, and helped add in more traits of what Barker had previously written for the character. The tattoo on Harry’s back resulted from that research and collaboration. Scott Bakula does an excellent job with this role that I wish fortunes could’ve allowed us to be exposed to beyond this film, but nothing is ever truly impossible. One can still hope for another prime opportunity to arise for Bakula and Barker to reunite.
When Clive Barker saw the headshot of Famke Janssen during casting, he knew he had found Dorothea. Her air of class and elegance truly shines through in this role. When Harry first sees her its in the golden late afternoon sunlight, and she couldn’t be more captivatingly beautiful. She easily captures Harry’s heart, and that leads the two down a very passionate path. Bakula and Janssen have a seductive chemistry that is captured magnificently by the camera. Their love scene is gorgeous. I like the fact that Lord of Illusions came just before Famke became a villainous Bond girl in GoldenEye. Thus, it gives Barker some special credit for recognizing her talent and beauty before her breakout role. As Dorothea, she is both vulnerable and strong creating a fine mix to make her a damsel in distress, but not one that’s afraid to fight for herself when the opportunity arises.
I have to admit that I love the character of Butterfield. He’s perfectly androgynous with a slinking quality that makes him very serpent like. Barry Del Sherman uses his body language fluidly as he slipped into the skin of this peculiar villain. It’s wonderfully written as a dangerous, off-beat character that one might not take seriously at first glance. However, Butterfield quickly demonstrates a lethal, sadistic quality that he uses in calculated fashion. He truly takes deep pleasure in the torturous methods he uses, and Del Sherman absorbs himself fully into that mindset. He portrays a wonderfully charismatic and juicy villain. It’s also an interesting dynamic that Butterfield aspires to be Nix’s one and only apprentice, but even Nix acknowledges that there is no one else worthy but Swann. While Swann gets to bask in the limelight of fame, Butterfield slinks his way through the dark underbelly of the world to prepare for Nix’s return, and he gets no respect for his loyalty or hard work from Nix.
Daniel von Bargen is a hell of a diverse actor that I have gained immense respect for over the years. He can do drop down hilarious comedy, but also, put in a frighteningly charismatic performance as Nix. What he does in the first few minutes of the film resonate throughout the rest of the picture. His horrific power haunts Swann, and that fear translates over to the audience very sharply. He is an awesome villain full of commanding presence and intense malevolence. The power von Bargen throws into this role is masterful creating something that could truly haunt your nightmares in terrifying fashion. He clearly had a fun time portraying this intense, chilling character.
Another amazingly diverse actor is Kevin J. O’Connor. You may know him from his turn as the cowardly Beni from Stephen Sommers’ The Mummy, or from the Patrick Swayze television drama The Beast. As Philip Swann, he gives us a very unique performance. I like how the film opens without presenting a clear hero to you. Swann is not a confident or particularly stable person, and not the type to gravitate to as a protagonist. He is very shaken by fear, and later on in life, he’s not a content man. He has fame, wealth, and a beautiful woman at his side. However, it’s the creeping knowledge of what Nix vowed he would do, defy death, that endlessly troubles him. If he can do that, Swann cannot imagine what greater terrors he could unleash. Even with all the power Swann possesses, he knows that Nix is more powerful, but most importantly, he has the will to do things Swann never would. Nix messed with his mind once, and he’s never been able to shake that. O’Connor passionately displays the depth of those turbulent emotional and psychological elements so well. He makes Philip Swann a greatly fascinating and fractured character that maintains the foreboding tone of the film.
The supporting cast really put their all into their roles. They add to the eclectic flavor of these textured and distinct characters. Joel Swetow makes Valentin a very sophisticated but shady character. He furthers adds to the mysterious and treacherous aspects of the plot. All of the characters appearing in the Magic Castle sequence, portraying illusionists of all sorts, also really boost those spooky and colorful qualities of the film. It’s just a damn solid cast that Barker put together. There’s not a single weak link anywhere at all.
Clive Barker turned to the absolute masters of special make-up effects in KNB EFX Group for this film. Their work has been unparalleled. Whatever they do, big or small, severe or subtle, it always hold weight on film. What they did here is bring the gory and challenging imagination of Clive Barker to perfect life. The make-up on the resurrected Nix is purely, excellently disgusting, as it should be. The protrusion in his forehead is something I still cannot stomach to look at. Conversely, the digital visual effects are damn well up to standards. The early scene of Nix juggling fire is seamless and convincing, and the effect of Swann levitating a car over Harry’s head is quite well handled. Of course, I’m sure many would contend with the later scene of the apparition that attacks Harry and Dorothea late in the film, but Barker wanted it to look as it did. He did not want those effects to be dead-on realistic. He wanted a dream-like, unreal quality to them, and to a point I believe it worked. I’m sure something a little more refined could’ve benefitted the sequence better, but I generally have no criticism about it.
The film has a very strong, haunting score by Simon Boswell. It’s an excellent piece of work that regularly keeps the tension and ominous qualities present, but it also has its moments of beauty as with the Harry and Dorothea love scene. A sensual saxophone chimes in to delve into that seductive passion. The music during Swann’s stage show is marvelously theatrical. In its most climactic moments, the score is powerful and darkly operatic. Overall, it’s an immensely effective composition for a film with such diverse qualities.
Lord of Illusions has its generous share of heightened tension and frightening danger. The opening and ending sequences with Nix bring the full boar horror in all its macabre glory. In the bulk of the film, though, we have action based excitement with D’Amour, and some gory visuals that re-instill the haunting, chilling aspects of the story. This is not a splatter film with some brutal threat stalking the characters. It’s very supernatural with a more ominous threat stirring up their deepest fears. The atmosphere is very strong regularly keeping an audience on edge, and keeping them enthralled as each new layer of the mystery is pulled back. With lives being lost as he gets deeper into this and becomes more invested in Dorothea, Harry can’t just walk away. It’s a great way to wrap the hero up in the story, and drive him forward in the face of ungodly horror. Harry never gives into fear, and remains determined in even the darkest moments of the film.
The final act is powerful and amazing. It serves as the proper climax to this story which pits apprentice against master in a chilling and grotesque confrontation that still manages to keep D’Amour relevant to the outcome. It bookends the film smartly bringing Nix back in a far more chilling state than before. The disturbing cultist aspects of the movie really are driven home by this point, and have an ironic, vile pay-off here. It further sells the grave lethality and power of Nix. This entire prolonged sequence is like a slow decent into the horrific depths of hell, and there is no one better suited for the task of realizing that than Clive Barker. This ending will leave you still unsettled as the end credits roll.
If there’s one horror film that has inspired me as a screenwriter more than any other, it would be Lord of Illusions. This would be the genre I would want to play around in because Clive Barker realized it so well here. There’s a vast untapped potential for this supernatural noir genre, and this film is a prime example of that potential. Barker wrote a brilliant screenplay based on his short story The Last Illusion, and turned it into one of the best, most original and intelligent horror films I have ever seen. Thus, it is one of my favorite films of all time. This film far exceeds expectations realizing every element and aspect with amazing, top notch quality. It is only a shame that the studio difficulties Barker faced with this film caused him to turn away from ever directing another film again. Fortunately, it has not ceased him being a producer on a number of film adaptations of his written work. I think Clive Barker is one of the best masters of horror because has never let me down. If this turns out to be the final film he ever directs, no one could ask for a better final bow than Lord of Illusions.
I very much love this film, and count it as an all time favorite. I saw it twice in the theatre in 2005 because I was very much enthralled by the concept of the film and the excellent execution of all its characters and ideas. It has since remained a strong favorite of the genre for me, and has driven my fandom of John Constantine further. I was not knowledgeable about him before seeing this adaptation, but in the years since then, I have become a fan. In the Hellblazer comics from DC / Vertigo, he was a blonde Englishman created by the widely revered Alan Moore and visually based off of Sting, the front man for The Police. Obviously, that does not fit the description of Keanu Reeves, who portrays the title character as a dark haired American in Los Angeles, and there are numerous other changes here that deviate from the source material. That inevitably irritated numerous hardcore Hellblazer fans, but since this was my introduction to him, I can allow both versions to co-exist in my fandom. There are many reasons why I highly love this film including its gorgeous visual style, the world it showcases, and the potential of the characters.
It is said that whoever possesses the Spear of Destiny holds the fate of the world in their hands, and the Spear of Destiny has just been found and put into the hands of evil influences. In Los Angeles, exorcist and occult detective John Constantine (Keanu Reeves) begins to see foreboding signs of something big and unfriendly coming with demons forcing their way into our world, but at the same time, the anti-social chain smoker is diagnosed with lung cancer. It’s not so much the diagnosis that troubles him as the knowledge of where he’s going. John was born with a gift he didn’t want, the ability to clearly recognize the half-breed angels and demons that walk the earth in human skin, and Constantine was driven to take his own life to escape the tormenting clarity of his vision, but he failed. Now, marked as an attempted suicide with a temporary lease on life, the bitter hard-drinking, hard-living Constantine seeks a reprieve from his Hellbound fate. He patrols the earthly border between heaven and hell, hoping in vain to earn his way to salvation by sending the devil’s foot soldiers back to the depths. Unfortunately, he gains no absolution from the half-breed angel Gabriel (Tilda Swinton), and no consolation from strenuous allies such as the ominous former witch doctor Papa Midnite (Djimon Hounsou). They all adhere to “The Balance” which keeps half-breeds from directly interfering in human affairs in order to settle a wager between God and the Devil for the souls of all mankind. When desperate but skeptical LAPD Detective Angela Dodson (Rachel Weisz) enlists his help in solving the mysterious death of her beloved psychic twin sister, their investigation pushes them deep into a subversive plot to use the Spear of Destiny to bring forth an evil that threatens to destroy humanity. Caught in a catastrophic series of otherworldly events, the two become inextricably involved, and seek to find their own peace at whatever cost.
Director Francis Lawrence came from a music video background, and that can be hit or miss when moving to feature films. However, Lawrence’s background was clearly a benefit as he injects a very powerful and epic visual style into this film. Director of Photography Philippe Rousselot realizes that immersive vision brilliantly. His composition is rock solid creating very engaging visuals that pull an audience into the story and characters. There is depth to spare in his frames, and plenty of grace and integrity in how he shoots everything. There’s never any handheld camera work. It’s all fluid movement that contributes to the overall enveloping otherworldly tone of the picture. The use of color temperatures is very key to the atmosphere as it accentuates the dramatic tones throughout with a vibrant palette. This is a gracefully shot film with great attention to creating a unique atmosphere and tone in its visuals.
The overall quality of the visual effects are stunning. They are exceptionally consistent and of an amazing high quality. From subtle effects like the fiery glint in the eyes of demons to the enveloping landscape of the Hell version of Los Angeles, they create a complete, rich, textured, and full world for John Constantine to exist within that is truly convincing. The fearsome demonic creatures seen throughout are designed with consistency and originality. This feels like a world with its own weathered history, and attention is paid to every detail to present it as such. The entire “into the light” effect in the climax is awesome as the shadows are literally pulled away to force the evil presence into view. There is never just one effect used over and over again as a crutch. The film is full of vibrant effects that give the film its fantastical flare. Overall, every effect is just executed and presented with amazing artistry complementing Francis Lawrence’s vision beautifully.
I also very highly enjoy the score to Constantine. It has a great atmospheric, haunting electronic style that further fleshes out the otherworldly quality of the film, but still incorporates plenty of traditional score elements that punctuate the rousing, dramatic sequences as well as the softer, more intimate emotions of the film. Composers Klaus Badelt & Brian Tyler put together one hell of a unique musical accomplishment with this. I’ve never heard a score quite like this before, and it works so amazingly well. There is a great use of melody all throughout which enhances the emotional depth that this film is truly rich with. This is definitely a film that takes a different approach to things to give an audience a very distinctive identity for an all encompassing experience. The addition of the song “Passive” from A Perfect Circle is wicked cool in my opinion. It truly set a great tone entering into Papa Midnite’s club.
These enveloping elements wrap together to create a very rich story with a tone full of integrity and gravity. It can be a very haunting and scary film that uses horror elements at times, but is best categorized as a supernatural dark fantasy action film. The action in the film are not big set pieces with spectacular stunts. John’s not some bad ass action hero who can slug it out with a demon. Instead, he uses his occult and demonic knowledge as well as his skills as a con artist to help him win battles. He fights smart using the tools he has acquired which exploit the weaknesses of his enemies such as holy water, Moses’ shroud, a pair of Holy Cross brass knuckles, dragon’s breath, and various eclectic items provided to him by his allies.
This story is partially inspired by the Dangerous Habits comics storyline, which I have read. There’s little directly adapted from that story, and is more just taking the premise of Constantine being diagnosed with lung cancer and having to cope with that. How he deals with it and the resolutions of the comic and the film are very different, but both greatly show off John’s cunning skill as a con artist to varying degrees.
Constantine himself is very fascinating, and I think this version of him is well portrayed by Keanu Reeves. I am quite a big fan of his work ranking Point Break as one of my absolute favorite films ever. I find his work quite enjoyable, and he has some highly impressive acting ability. I think his approach tends to be more subtle, and with Constantine, he really drives home a very diverse character. Reeves showcases Constantine’s jaded personality with depth and purpose. He brings out that worn down, weathered texture that makes the character so intriguing and surprising. He can be an outright asshole because he’s been both plagued by the knowledge he has about the world around him, and that he’s destined to spend eternity in Hell, regardless of what he does. He’s tired and frustrated by these rules that these so-called “higher beings” have imposed upon humanity for their own sport, and he knows there’s little he can do to combat that. Keanu gives the character enough edge while still maintaining an underlying sense of humanity which evolves through the film. As the story goes along, he becomes more and more invested in Angela as a person instead of just her being a cog in a larger plot. You gradually see the bond form between the characters, and how that starts to drive John’s actions. There’s a pivotal shift in there where he stops sulking in his own pain and starts seeing Angela’s. He sees her regret and how far she’s willing to go to mend it. John can still be an asshole, but ultimately, it’s just to those that deserve it. Reeves portrays these subtle and strong emotional beats powerfully showing that there’s more to Constantine beyond that spiteful, embittered exterior.
Another subtle part of John that’s retained from the comics is how his friends constantly pay the price for his battles. In the comics, John is haunted by the ghosts of his dead friends, and the screenwriters slipped a brief line in here about John not needing another ghost following him around. So, it’s no wonder that he’s as cynical and jaded as he is, but it’s also these circumstances which drive him to fight. He challenges everyone on their egotistical or hypocritical behavior, and allows no one to slide.
However, the arc for the character takes him from being a self-serving person who fights evil for his own sake to someone that does the right thing for the sake of others. It takes nothing away from the hardened core of the character, it just makes him an actual hero by the end. That is helped immensely by Rachel Weisz’s emotionally impactful performance. Reeves and Weisz had previously worked together on the 1996 film Chain Reaction as love interests, and perhaps that added a stronger chemistry between them. In this film, their chemistry is exceptionally solid and tight. They have great back-and-forth dialogue with sharp timing and rich character dynamics. Angela is also easily able to stand up to John’s abrasive attitude which is a welcomed quality. Weisz strongly portrays the more emotionally and psychologically vulnerable counter-balance of the story. This allows an audience to have a relatable conduit into the character of John Constantine and his supernatural world. Rachel Weisz is an incredible actress showcasing a wide range of abilities here. She is remarkably powerful bringing out the emotional pain that Angela has deep within. However, while Angela is vulnerable, she is a police detective, and thus, Weisz never makes her appear helpless or incapable of defending herself. She has a definite strong will and confidence about her mixed in with a grounded, engaging charm. It’s simply that the character been impacted by tragic events, and is thrust into a potentially frightening scenario which brings out those fearful or unstable elements in her. Weisz handles it all with dramatic weight and grace.
It is also immensely impressive how strong the supporting cast is in Constantine. Djimon Hounsou has such an awesome presence as the witch doctor turned night club owner Papa Midnite. His deep voice and subtle charisma give weight and gravity to his performance. He can be greatly imposing and intimidating without even standing up in his initial scene. Hounsou and Reeves spark a fascinating chemistry. They play the characters with a sense of shared history which has its turbulent areas which causes friction and some antagonism between them. The screenwriters had a good philosophy of the best way to convey exposition about a character is to show them working. You get to know more about Midnite and Constantine through what they do and how they go about doing it than can really be conveyed through straight dialogue interactions. This is showcased beautifully in the sequence with “The Chair” which allows John to see the path the Spear of Destiny has taken recently, and to find out where Angela has been taken. It’s a manner of operating alluding to information that is necessary for them to know to do what they need to do, but is not necessary to be spelled out for the audience. This further reflects the sense that this a world with a long, textured history between characters, and it is presented in a very smart way that never bogs down the film with extraneous exposition. Midnite himself has a very pleasing arc in the story that ultimately shows Hounsou’s range and charm. He makes the character very fascinating, imposing, but ultimately, highly pleasing.
Tilda Swinton is immaculately graceful and elegant as the half-breed angel Gabriel. The filmmakers chose to go with an androgynous quality for the character, and absolutely wanted Swinton for the role. They chose incredibly well. Her performance has a gentle compassion that eventually turns into a subtle megalomaniacal mindset. She also has an ethereal aura and presence about her that is pitch perfect. It’s a nice dynamic when Constantine goes to see her with him ranting and calling out the hypocrisy at hand, but she offers up a very warm, motherly tone with him. They are both trying to make each other see things from their perspective, and neither is entirely in the right. There is a very aristocratic, snobbish mentality from Gabriel that John can’t stomach, and it works so exceptionally well for this character. It’s such a remarkable performance that the words to describe it in depth escape me.
Now, this film was before Shia LeBouf started grating on peoples’ nerves, but here, there’s enough heart and charm with him as Chas to make his performance a pleasure. Chas is spirited and driven to be given the chance to be of real assistance to Constantine instead of just his personal cab driver, but John just knows the danger of allowing him to do so. Yet, Chas is eventually given the chance to show his worth. As with everyone else, the chemistry is dead on the mark perfect. Gavin Rossdale’s turn as the demon Balthazar is oozing with charisma. He relishes being engulfed in evil, and that delicious smarmy arrogance just pours out over the screen. The tension and spite between him and John is thick as can be. You can’t help but love and hate him all at the same time. All of the actors throughout the film really inhabited their characters with exceptional commitment and nuance, and came together as a cohesive whole to deliver something diverse and marvelous.
Of course, there is Peter Stormare’s magnificent performance as Lucifer himself. There have been so many portrayals of the Devil over the years in cinema from some massively talented actors, and each portrayal has been unique. Stormare takes unique to a whole new level here. The physicality alone is unsettling as if he’s trying to uncomfortably fit back into a human form like it’s an old out of shape body suit, and it results in some peculiar and tense nervous energy. The look is striking enough without devolving into shock. The shaved eyebrows and shorn haircut along with the tattoos really present a standout visual that separates Lucifer from everyone else in the film. Stormare takes all of this to forge a weirdly eccentric Devil that doesn’t need to flaunt an ego or boast of his power. His creepy, chilling presence sells everything. The addition of the pure white suit and bare feet was a nice touch, and it really fits the visual aesthetics of the film.
While I have nothing against a well done origin, it is very commendable that this is not an origin story spending a large percentage of the film showing how Constantine became the man he is today. His back story is not even revealed until well into the second act as we get to know it alongside Angela, and allusions to other shared histories are sprinkled throughout. The film treats its audience as intelligent by not having to explain every little thing. It presents a world, gradually lays out the general parameters of how it works, and then, allows it to envelop the audience. I like this approach for the character because there is a lot of John Constantine history that is very relevant to the character, but it would be nigh impossible to hit all the poignant marks to develop him fully in a two hour film. Starting a film series here is very interesting because it takes John from the jaded, weathered depths to someone more purposeful and formidable. It is a greatly executed arc wrapped up in a strong plotline backed by some excellent talents in front of and behind the camera.
It seems hard to judge where this movie stands in terms of general consensus. It’s not one of those comic book movies everyone talks about, or includes on the list of the best or worst adaptations. I seem to perceive this as a film that had good commercial success, but tends to get overlooked for no apparent reason. Professional critics were divided on it, but the thing with critics is that they get paid to go see movies they are not always pre-disposed to enjoy. This was a movie that appealed to my tastes via its marketing, and it did blow me away. Again, the hardcore fans of Hellblazer likely had their passionate gripes with all the changes made to the established elements of the property, but it’s not a bad film at all. It’s exceptionally well made from a filmmaker with great vision and artistry, and features an amazing cast that put their all into it. From an objective point of view, it’s a greatly entertaining and satisfying film. It has plenty of interesting action, an excellently crafted world, fantastic, stunning visual effects, a unique and fascinating score, and is just generally well written all the way around. I really love this film, and I love what I’ve read in the Hellblazer trade paperbacks. Both offer me something different but equally satisfying to my tastes for supernatural horror and dark fantasy. If you’re unfamiliar with the property, this film can ease you into the heavier subject matter and grittier feel of the comics, but they are two unmistakably different presentations on the characters and the world they inhabit. Taking the film on its own merits, it’s a highly imaginative, excellent piece of work that is worth investing your time and interest in.
Evil is everywhere, and in everybody. That is never truer than in this film. I saw Fallen in its original theatrical run fourteen years ago. I loved it then, and I still love it today. I owned in on VHS, and later, it was one of the earliest DVDs I saw. At the time of release, I stated it was one of the best suspense thrillers I had seen. Now, even after being exposed to a wider array of films in that genre, this still holds up strongly for me. The supernatural twist surely adds to that. Fallen really is an inspired film of its genre that is gripping and engaging on multiple levels from the awesome beginning to the masterful ending.
Detective John Hobbes (Denzel Washington) has already arrested serial killer Edgar Reese (Elias Koteas). He’s been convicted, and is now awaiting his execution in the gas chamber. Although, for a man facing his inevitable and imminent death he’s remarkably upbeat. Is he psychotic or is he something else? Hobbes witnesses the execution, and sees Reese die in the chamber. The case is closed, and it’s on with life. That is until a new series of murders arise which eerily share characteristics with those of Reese’s, but Reese is dead – isn’t he? An ancient, unseen evil known as Azazel took control over the man known as Edgar Reese a long time ago, but where Reese died, it endured. Now, it’s set its sights on Hobbes to enact revenge on him. Hobbes’ partner Jonesy (John Goodman) is naturally creeped out over the apparent links between these latest murders and those Reese committed, and their commanding officer – Lieutenant Stanton (Donald Sutherland) – is very shady, eluding to knowing a lot more than he’s willing to divulge. Hobbes attempts to solve the puzzle of why there is a space between “Lyons and Spakowski” that Reese left for him – before and after his death. This clue leads Hobbes to the death of a police officer who is survived by his daughter Gretta Milano (Embeth Davidtz) who becomes Hobbes’ path to answers that he is not easily willing to accept. What this mystery drags Hobbes into is a dark and dangerous reality which may only end up in death for all those who stand between this fallen angel turn demonic spirit and John Hobbes.
Denzel Washington – as always – delivers a powerful and solid performance. His character of John Hobbes is very human with a wide range of emotions, but most importantly, he’s loyal and dedicated to those he trusts and cares for. In the start of the film, Hobbes is depicted as a solid professional and a confident detective. He’s no glory hound with the media – he’s just a cop with a job to be done, and is glad that Reese has been brought to justice. As the story becomes stranger and more unreal, Hobbes slowly unravels the mystery with great skill. Denzel carries the film with ease. He handles the subject matter in a very grounded way making it all relatable through his usual charm, heart, and humanity.
This brings us to Elias Koteas who, despite his relatively short screentime, retains the biggest impact of the entire film. He makes every second of his time on screen count. Elias put a lot of hard, hard work into this performance so that it would stay with an audience throughout the length of the film. I’ve seen Elias in many different roles, the first of which was as the crime-fighting Casey Jones in the original Teenage Mutant Ninja Turtles live-action movie, and later, among the powerhouse cast in The Prophecy. No matter the film, whatever role he takes on, he makes it memorable. This one is no exception. Reese comes off as a very haunting and disturbing individual without rolling into Hannibal Lecter territory. Koteas brings an intelligence to the role that is hidden under layers of charisma, riddles, and supposed psychotic behavior. He entirely grasped the intent of the character in the story, and the depth of this evil entity.
Next, you’ve got John Goodman as the warm-hearted and emotionally supportive Jonesy. Goodman always amazes me with his natural talent. He can go from comedic and humorous to intense and dramatic at a moment’s notice. I thoroughly enjoyed his work on Roseanne as well as other movie roles, and in this film, he really puts it all out there. I don’t want to drop any major spoilers, but his performance at the film’s end is just everything he could ever pour into a performance and then some. Donald Sutherland does fine work – as always. His Lieutenant Stanton really offers a stricter and secretive counterweight to the more open relationship between Hobbes and Jonesy. He puts Hobbes at unease as he delves into this unsettling mystery. There’s also a smaller supporting role with James Gandolfini as a fellow Detective with a unique personae and attitude. Of course, he pulls it off with much charisma and energy that adds to the colorful nature of the cast.
How the supernatural aspects are handled add to the class and sophistication of this film. Fallen angles who were deprived of form that have lived on through the centuries possessing humans could have faltered if presented in the wrong way. Embeth Davidtz was given the task of conveying this exposition, and she hit it perfectly on target. As Gretta Milano, she offers up a strong, yet compassionate performance with a confident core set of beliefs that keep the film grounded, but allow for Hobbes and the audience to believe in there being something more out there. Something beyond what we can see that is still a very powerful threat. The film is set in Hobbes’ world of procedural police work where there is a simple explanation and tangible evidence. Gretta slowly convinces Hobbes to look beyond the obvious and open up his mind to the supernatural truth. Davidtz strikes up a good chemistry with Denzel that allows for a sense of trust to build between their characters. This, along with Davidtz’s strength of character, allows Hobbes and the audience to embrace the reality of Azazel.
Newton Thomas Sigel’s cinematography on this film is filled with fantastic depth and color temperature contrast. I still remember when I first watched this on DVD, and was highly captivated by the vibrant visual quality of the film. It is beautiful while remaining moody. The autumn setting is captured with gorgeous artistry. It is my favorite season of the year much due to how wonderfully colorful it becomes. They don’t just have it there because that’s the time of year they shot film, they make it an overall part of the film’s tone and color scheme. The “demon vision” look is effectively creepy and otherworldly. The score further adds to the haunting, mysterious atmosphere of the film. Of course, the use of the Rolling Stones’ “Time is On My Side” was terrific and inspired. A great choice that fits the manic and peculiar sense of humor of Edgar Reese. The song is constantly sung by those possessed by Azazel throughout the film as a sort of playful tease from the demon to Hobbes. Of course, John Goodman puts in the best performance while mimicking some moves of Mick Jagger.
This all adds up to an exceptionally effective thriller. The suspense of the feature is very taut creating a haunting sense where, eventually, John Hobbes becomes deeply unsettled by. Being stalked by a supernatural killer that is generally intangible who can transfer itself from one person to another with a simple touch was brilliant. There is a chase scene with Gretta Milano which uses this one concept to great effect. The misdirection of the film is also ingenious, and the bookend scenes happen to be a storytelling method I’ve come to use in many of own independent films. This story is all told from a certain perspective that you will not put into alignment until the end. Denzel’s voice overs are excellently handled to be both ambiguous as to the truth the first time around, but also, be entirely perfect on repeat viewings fitting into what you already know. This is mainly a testament to the screenplay of Nicholas Kazan, and the direction of Gregory Hoblit. Voice overs can tend to be a little dry without the proper direction and context given to the actor. Denzel gives them the right tone which feeds into the detective noir investigative aspect of the story, and ultimately, as something much more.
Kazan’s screenplay alone seems excellent. The concepts and how they are handled are done with a fine depth of intelligence and emotional poignancy. The philosophical discussions amongst these characters show exceptional attention to well developed characters, relationships, and storytelling detail. The actors inhabit those roles, along with all their beliefs and attitudes, perfectly. These are essential elements to explore for John Hobbes to develop through the film. He doesn’t give into wild paranoia, but more of a cautious, weary mindset that drives him to a very clear perspective. Azazel’s actions throughout the film makes Hobbes a man with his back against the wall, but he doesn’t flinch or become desperate. He gets smart, and decides upon a course of action that is quite cunning and smart. That’s very telling of the film. There’s nothing cheap or dumb about it. Everyone involved works towards creating a very smart film that maintains a sense of humanity.
Checking wikipedia for some credits on the film, I see there were many mixed reviews of Fallen upon its initial release. There were critics describing it with words like “convoluted,” “far-fetched,” “recycled,” and “not very engaging.” As a friend of mine consistently remarks, what good are critics anyway? I can hardly understand where they come from myself most times. I personally believe too many have forgotten how to simply enjoy a film as a piece of art or entertainment instead of analyzing it like a science experiment. How they could not see the rich depth of this movie is beyond me. I find it entertaining on many levels with dimensional, enjoyable characters, incredible tension and suspense, a fine interwoven mystery, excellent performances all around, and clever storytelling. Again, I felt this way in 1998, and I feel the same now in 2012. I’m sure I will continue to feel that way forever. This partially follows in the mentality of 1990s crime films post-Se7en, but there’s so much more self-identity and humanity within this story that is not often found as much in this genre. Fallen is a definite must-see for anyone who enjoys suspenseful thrillers with supernatural elements. This is a highly satisfying, sophisticated thriller which receives my strongest endorsement!
To say that the Halloween film franchise has been a very mixed bag with very debatable highs and lows would be putting it mildly. Probably the blackest sheep of the family is Halloween III: Season of the Witch. After burning Michael Myers alive in the second film, John Carpenter decided to take the franchise into an anthology format. Each new entry would be generally unrelated to one another except for sharing a Halloween theme. It failed, dismally. Does that mean the film is particularly bad? Well, that’s complicated. The non-sequel was panned by critics and fans alike, and there is true reason to that. In recent times, it has gained more respect apart from its franchise ties. However, before I go further, let’s layout the plot first.
Dr. Daniel Challis (Tom Atkins) is a physician at a northern California hospital. One October night, a man named Harry Cambridge is carted into the emergency room in hysterics. Grasping a Silver Shamrock Halloween mask and screaming “They’re going to kill us all”. Naturally, he seems to have lost his sanity, but when Harry is murdered in his hospital bed later that night by a mysterious man (Dick Warlock) who shortly thereafter enters into a car & blows himself sky high, Dr. Challis becomes very curious as to Harry’s claims. His interest is furthered when Harry’s daughter, Ellie, tells Challis what drove her father into hysterics. Harry Cambridge was investigating the origins of the Silver Shamrock masks, and to why no orders were being taken for the following year. Daniel & Ellie trek to Santa Mira (the home of the Silver Shamrock Company) to find the answers they seek. They are horrified when they discover that the company owner, Conal Cochrane (Dan O’Herlihy), has implanted microchips, partially made from mysterious Stonehenge rocks, into the masks, and when the Silver Shamrock commercial plays with its special jingle, it will kill countless numbers of children across the country in a horrific manner. As the night goes on, time draws short, and Daniel Challis must attempt to thwart Cochrane’s evil, sinister, dreadful plan. Through relentless android assassins (who all look like Dick Warlock), a treacherous factory, and more, Dr. Challis desperately races against time to stop this living nightmare from happening.
This film is good, but not great. It has a tense and suspenseful story that plays out with some shocking visuals and lots of android gore (they ooze yellow fluid). It’s sort of clever that the film still maintains the opening shot of the jack-o-lantern, but as a video graphic, thus, supporting the film’s technology motif. The film starts off with a suspenseful and mysterious chase sequence which sets up an eerie tone for the film. However, while there are several strong moments of horror and unsettling atmosphere, they feel very far between with little going on in the meantime to maintain a driving plot.
While the score is very identifiable as a John Carpenter / Alan Howarth creation, I think its main shortcoming is a lack of an iconic theme. The music is either a pulsating, rhythmic vibe or just eerie underscore to enhance the danger and creep factor. When the original Halloween is playing late in the film on a television set, the music from that film more than overshadows the original music for this film. Still, this is certainly far from being a bad score. It’s perfectly creepy and ominous from two master composers, but knowing the other work they have done, it seems a little lacking in creativity. The incessant repeat usage of the Silver Shamrock jingle surely becomes irritating very quickly, adding another negative mark against the film.
Director Tommy Lee Wallace doesn’t have the artist strength of John Carpenter, and while the cinematography of Dean Cundey goes a long way to boosting the visual quality of the film, there’s still a definite fall-off in suspenseful innovation. Furthermore, several of the sets and props seem budget-starved. and the $2.5 million budget re-inforces that statement. The lesser grade production values really damage the film’s potential for being taken seriously. If the film had double that budget, perhaps such things would’ve looked better, but it wouldn’t have saved the film. There are simply far more fundamental problems with Halloween III that could’ve been salvaged with the right person at the helm. Thankfully, the special make-up effects are of an excellent gory quality.
Now, Tom Atkins puts in a strong, well-rounded performance here. He shows the desperation of Challis well, and even more so, the intense fear at the film’s finale. It’s a good performance as this womanizing doctor, but at times, you may feel as if he is is out-of-place. Atkins is a big, tall guy, and having him play a less than physically capable man comes off as awkward on screen. He easily does well with what he’s given, but there’s not much of a character on the page for him to appear unique or compelling. Challis doesn’t have a particularly distinctive personality to really distinguish him strongly enough in the story. This is pretty common with every character.
For instance, Dan O’Herlihy does a decent job as the insidious and sadistic Cochrane, but it’s not a great performance. Granted, he’s convincingly evil, but barely more than that. We are given a preview of Cochrane’s intended fate for the youth of the country, and it is truly shocking and horrifying. Unfortunately, that alone doesn’t amplify the character of Cochrane. I feel he needed to be more devilish, more demonic, more purely evil, but O’Herlihy’s performance does not reflect that. His motives are horrific, but the man himself acts exceptionally casual. He exudes very little emotion beyond a slight foreboding tone when he explains his motives and intention to Dr. Challis. Cochrane shows no anger, no contempt, no vindictiveness. Considering his motives, one would expect a more driven, more passionately evil character to come through on screen. A casual evil can entirely work, but it needs more under the surface to make it truly disturbing. One part of it is the script, but the other is the direction. O’Herlihy might’ve been capable of more, but Wallace does nothing to motivate a stronger performance. Basically, there’s no true depth to the performances. You can look back at the wonderfully subtle work of Donald Pleasance in John Carpenter’s 1978 film to see what dramatic depth truly is, and how a great actor can inhabit a role well with the aid of a talented director.
I personally feel that this movie had potential, and if someone were to be bold enough to revamp it into a modern day production, I think it could meet that potential. These days, one never knows what Hollywood will want to pillage next. The premise of mixing mystical forces with a science fiction tinge sounds great to me, but it wouldn’t be an entirely new. I simply believe that, with a proper budget in the hands of a talented director and an updated script, Season of the Witch could be an exponentially better film. As it is, we’ve got a low budget B grade horror film with a fading stain of spite.
So, in the end, we are left with an intensely fearful cliffhanger as Challis screams at the television station over the phone to shut off the final commercial. It’s a thrilling and suspenseful finale, and it should stick with you for sometime. As I said at the start, we have a mixed bag. The story worked, and the film had it’s frightening and thrilling moments. However, the production faltered. Tommy Lee Wallace isn’t a real visionary director, and the score was truly sub par for both Carpenter & Howarth (latter of which would do great scores for the next three Halloween films). There are a couple of films I like just based on their potential despite the film not realizing that potential. I believe this is one of them. I can enjoy certain elements of it, but Halloween III: Season of the Witch just doesn’t captivate me all the way. In the least, I suggest checking it out just so you can make your opinion of it instead of blindly buying into the scorn of decades past.
Prince of Darkness is certainly one of John Carpenter’s stranger and more underappreciated films. It’s the second installment in what Carpenter calls his “apocalypse trilogy” (which includes 1982’s The Thing and 1995’s In The Mouth of Madness). Simply put, this film is about the coming of the apocalypse, and the arrival of the Prince of Darkness – Satan himself. This is one seriously eerie and creepy film, but it has the slowest pace of any Carpenter film I have seen. I believe this film comes as an acquired taste. It can take multiple viewings to really enjoy it fully, as it did for me.
A group of scientists, students, and priests – led by Father Loomis (Donald Pleasance) and Professor Howard Birack (Victor Wong) – have come to study a mysterious canister which has been sealed away in the basement of a Los Angeles church. The eerie green liquid inside this canister proves to be supernatural as it defies gravity, leaking upwards to the ceiling, and soon, it’s discovered that it is self-organizing as part of a living intelligence. This has made way for changes to occur in nature that herald the coming of something evil. And those who come into contact with this liquid are transformed into mindless undead slaves of Satan himself. Outside the church, the homeless and derelicts of Los Angeles become powerless against the influence of hell. The few human beings inside the church are trapped – barricading themselves inside with threats all around them. Theories are abound as to what is happening and philosophies about heaven, hell, and all of creation. But whatever forces are at work, these few people must not only survive these servants of hell, but also prevent the coming of the Prince of Darkness from the other side.
If you choose to watch this film, I suggest you get things as dark and as quite as possible, put in the DVD, get that surround sound just right, and get ready to experience one of the most haunting, frightening films ever. This is possibly the most taut and suspenseful Carpenter film of all-time. The master of terror gives us a film that nobody should easily be able to forget. The score from John Carpenter & Alan Howarth is absolutely mesmerizing and powerful. Right from the beginning, it sucks you into a creepy and absolutely ominous world, and doesn’t let go until the end credits have finished. It’s an absorbing, killer work of musicianship that compliments the film marvelously.
The effects here are great. There’s nothing here as complex as in The Thing (which Rob Bottin really delivered something groundbreaking), but there’s plenty of scary makeup work and visuals to unsettle any audience. There’s such apocalyptic biblical imagery here – including swarms of creepy crawly critters – that it will have you squirming and jumping from your seat. John Carpenter wrote the screenplay under the pseudonym “Martin Quartermass,” and man, he does just such an amazing job eliciting such haunting emotions. The film has such a suspenseful power that it could ONLY come from John Carpenter.
That pseudonym is only one of several that Carpenter has employed in his career. He uses them because he feels uncomfortable with his name plastered all over the credits as if it’s an egotistical thing to take so much credit. Me, I believe in everyone getting the credit they deserve for the hard work they do. The fact of the matter is that I know who Martin Quartermass, John T. Chance, and Frank Armitage are, and it is still John Carpenter’s Prince of Darkness.
The cast is full of Carpenter regulars such as Donald Pleaseance (Halloween, Escape From New York), Victor Wong & Dennis Dun (Big Trouble in Little China), and Peter Jason (They Live, In The Mouth of Madness). Also, Jameson Parker from TV’s Simon & Simon is in a lead role as well. It’s very much a Carpenter style cast in that he doesn’t cast big stars, but a lot of strong character actors that give the film a textured diversity. I really enjoy all their talents, and they all put in fantastic efforts. John Carpenter has always been great in the casting department (probably best displayed in The Thing). We even get a cameo from shock-rocker Alice Cooper, and he contributes the title song from the album of the same name. The song only appears in a small scene, and via a guy’s walkman radio. In any case, it’s always nice to see Alice appear in a horror film via an acting role or as a musician. He has no lines, but appears creepy enough as one of the derelict servants outside the church. Overall, this cast gives a lot of life and character to this slow-paced film.
In a way, this is different from most Carpenter movies, mainly in pace. He’s always made very smart pictures, and his horror has never been something you can entirely shut your brain off for. And while Prince of Darkness is full of atmosphere that drives every horror element forward, it is much more an idea and philosophy driven screenplay. There are very few action set pieces as the danger and horror are played through tense atmosphere and chilling visuals. It’s a film that crawls in under your skin slowly, and requires you to stay mentally aware of what’s happening for it to have the proper effect.
There’s a good deal of discussion in the film about philosophies regarding dreams, death, hell, religion, and so forth. This adds to the psychological aspect of the film since it revolves around such supernatural or paranormal phenomena birthed out of an ancient evil covered up by the church. With the film having such a wide ensemble cast, they have plenty of room for differing opinions and beliefs, but don’t let this make you think the film gets bogged down by it. Not at all. As they uncover more truths, it enhances the fearful and foreboding atmosphere of the film. There is a haunting evil taking form in their presence, and it is slowly consuming them either physically or psychologically.
In everyone’s dreams, they see a transmission from the future of a dark figure exiting the front of the church they are all holed up in. They get only bits and pieces, but they all share it getting a little more each time they fall asleep. It is another piece of the foreboding doom that lies ahead of them, and it is immensely effective.
Prince of Darkness definitely has similarities to an old style zombie film where a group of mismatched people have to fend for their lives against an undead army. However, Carpenter just pushes it further with so much more substance and unsettling visuals. This really is a nightmare come to life. A constant theme in Carpenter’s Apocalypse Trilogy is some sort of force consuming humanity and deteriorating it into something entirely inhuman. In The Thing, it’s an actual alien life form that perfectly duplicates any organism it infects which could eventually wipe out the human race. With In The Mouth of Madness, reality is twisted and distorted to where people become psychotic and homicidal in the wake of ancient evil reclaiming our world. In Prince of Darkness, it’s sort of a bridge between the concepts. As an ancient evil slowly claws its way back into our world, it also consumes nature and humanity until they become entirely mindless, inhuman servants. Coming from three different screenwriters on three different films, that is an entirely fascinating conceptual arc.
This film is undoubtedly one of John Carpenter’s finest works. Some don’t take a good liking to it because of its slow, slow pace, and its focus more on suspense than physical intensity. Whatever the case, I find it to be a masterwork worthy of inclusion to anyone’s DVD collection. The cast is very good, fun at times, but solid always. The score is pure gold, a powerful accomplishment for Carpenter and Alan Howarth. As in any Carpenter film, the cinematography is stellar, and the direction is absolutely phenomenal! If you genuinely want to get creeped out to the max one dark, lonely night – this is the one film to watch! I won’t say that Prince of Darkness is a perfect film as the pace can be a detractor to its potential. Part of good tension and suspense is momentum, and it’s not entirely consistent here. However, it is a great flick, and I will give it a great 9 out of 10. If nothing else, the ending will grab you like only a John Carpenter film can!
The Exorcist franchise is like a roller-coaster – lots of ups and downs. The original film is an eternal, bona-fide classic. The Exorcist II, while I have never seen it, is generally revered as a terrible mess of a film. Things swing upward with William Peter Blatty’s The Exorcist III. Blatty adapts his novel Legion into this theatrical outing with him directing as well. While this film is very much in a far better direction, there was studio interference which mostly complicated and muddled the film’s ending. Still, there’s a surprisingly creepy piece of horror cinema to behold that has gradually become one of my favorite horror films of all time.
Set fifteen years after the events of the first film, we mainly follow Lieutenant Bill Kinderman (now portrayed by George C. Scott) who has formed a friendship with Father Dyer (Ed Flanders), friend and confidante of the late Damien Karras. It’s an odd friendship built on a love of movies and the memory of Karras. The Lieutenant is investigating an eerie string of disturbing murders that harkens back to those of the Gemini Killer (Brad Dourif), who was executed fifteen years earlier. There’s a religious subtext to some of the murders, but none of the forensic evidence pieces together from one death to the next. Things become stranger when investigating at the hospital Kinderman discovers an isolated mental patient who claims to be James Venamun, the Gemini Killer, but bares a striking resemblance to Father Damien Karras (Jason Miller). He is clearly insane, but knows everything about the original Gemini killings. He also refers constantly to “the master” who slipped him into this body as Karras was slipping out after his fateful fall down the steps fighting Pazuzu. Kinderman can’t see the evil within, but he feels it and knows the death and dismemberment it has caused. As Kinderman comes closer to deciphering this demonic mystery, his own soul and life could easily be in danger as well as others’.
This is a positive review, but I’m going to start out with the bad first, just to change up the template. The ending to this film was changed because after the studio renamed the film from the novel’s title of Legion to The Exorcist III, they realized there wasn’t a single exorcism in the script. To accommodate this, an extra plot line was introduced which bought Jason Miller back, and a line about seeing through “the eyes of faith” to accommodate having footage of both Dourif and Miller portraying the same general character. None of that is really a problem in terms of storytelling or the quality of the film. It’s all handled and balanced beautifully through clever editing and storytelling. Where the problem lies is the climax and conclusion of the film. What we’re inevitably left with is an overly grandiose exorcism with a breadth of fantastical, biblical, and blasphemous imagery which seems a little out of place and over-the-top. Granted, there is a heavenly dream sequence with a wealth of respective imagery. Also, there are supernatural elements throughout the film, but they’re more subtle. This ending breaks the restraints and lets loose the floodgates. In one perspective, it might seem appropriate like the gates of hell have been breached, and everything is being unleashed. However, to my perspective, it doesn’t seem to mesh all that well with the rest of the film’s style, and twists the story into an odd direction which isn’t as satisfying or coherent as it probably could’ve been. There’s also the dictated addition of Father Paul Morning (Nicol Williamson) to the film who is not given any character building scenes to integrate him into the story. This addition causes some storytelling problems, and seems like an irrelevant diversion from the plot until the finale justifies it. All of this doesn’t kill the movie, but I would’ve been interested to see what Blatty originally had in mind. Apparently, the novel does not have a happy ending.
Onto the good stuff. George C. Scott commands this movie. From the guy who won an Academy Award for his powerhouse portrayal of General George S. Patton (though, declined the award), that’s to be expected. He offers up a dry sense of humor, some degree of grief, but overall, he provides conviction and intensity to Bill Kinderman. The highly acclaimed character actor Lee J. Cobb originated the role in the 1973 film, but the actor passed away from a heart attack three years later. Ed Flanders takes over the role of Father Dyer from the real-life priest, Father William O’Malley. Jason Miller is the only returning cast member from the original film, and does a very subdued and creepy performance as the brain damaged ‘Patient X.’ However, where the acting really soars is Brad Dourif. Whatever roll he was on going into this film, it made his performance enveloping. You just can’t turn away. With the monologues he had to deliver, the role and performance could’ve killed the film, dragging it down into boredom. Fortunately, Dourif has a magnetism that just reels you in hook, line, and sinker. His charisma eats up the scene, and the sparks that fly between him and Scott are the meat of the piece.
This was only the second film directed by William Peter Blatty. The first being The Ninth Configuration from 1980 which Blatty once considered the real sequel to The Exorcist despite it’s connection being one briefly seen, unnamed character from 1973 film. Despite such a brief directing résumé, Blatty shows a lot of skill and competency here. This film oozes with creepiness, making it one that’ll twitch your nerves, and keep you jumping. There is one particular sequence featuring a white gown and a killer musical stinger that’ll freak you out. Just thinking about it gives me the chills. No matter your own opinion of the film, this sequence will get you every time.
The musical score by Barry De Vorzon is quite fitting, and immensely effective. I was previously familiar with his haunting and intense score on the cult urban action film The Warriors, which was very much of its time in the late 70s. The Exorcist III score is much more traditional, but still haunting as well as chilling. It makes itself essential to building the atmosphere of the picture.
The director of photography, Gerry Fisher, gives this picture great composition and an amazing look in certain scenes. Every time the film ventures into the isolation chamber, the lighting is so beautiful in an exceptionally dark and eerie fashion. Fisher previously lensed the fantasy adventure classic Highlander with amazing artistic talent, and wonderful composition. The Exorcist III doesn’t call for anything as epic as Highlander, but the artistry is still beautifully evident. He definitely gives the film a visual impact that lasts.
There are some discrepancies between the original 1973 film and this sequel. Likely, these are due to Blatty focusing more on his original novel source material instead of Freidkin’s feature. The primary issue is that, in The Exorcist, Kinderman and Karras barely knew each other. They meet for one conversation for their first meeting ever, and are never seen together again. Here, it is heavily referenced that the two men were best friends, and knew each other quite well. It’s that friendship which drives Kinderman’s intense investigation, and motivates the plotlines along. I have not read Blatty’s novels, and so, I cannot confirm or speak to any of this speculation. However, considering he is the author, screenwriter, and director, it’s easy to conclude that these are character connections he always intended in some form or another. Other issues are easily resolved. The year of when the events of the first film occurred has been altered to 1975, but there’s nothing in the first film to conflict with this. Just the fact that it was released in 1973 is all that causes any issue at all.
Overall, I feel The Exorcist III is an amazingly well done film, and only the interference of Morgan Creek executives diminished and hindered Bill Blatty’s vision. Paul Schrader and Renny Harlin would also learn of this over a decade later when filming their respective prequels to The Exorcist, and Blatty blamed no one but Morgan Creek for both versions’ failures. A director’s cut of The Exorcist III is apparently never to surface due to Morgan Creek being unable to locate the footage. Still, despite these obstacles and tampering with the film, I honestly feel an effective, original, enthralling, and exceptionally satisfying horror film shines through. Blatty showed great talent and competence in both scripting and directing, and George C. Scott’s performance is a powerful and intense as you’ve come to expect from him. Ultimately, this is a great surprise considering the more maligned entries in this franchise (save the original), and is indeed one hell of a terribly creepy film. This is a horror film I can watch just about anytime and be pulled into every time. This is what has gradually made it a strong personal favorite of mine which I would also consider one of the best horror movies ever made. If for nothing else, it’s a good watch for a dark, lonely night.