A Nightmare on Elm Street (2010)
May 17th 2010 23:57
We’re walking down a well-trodden path now: the re-imagining of a cult classic movie, of which the horror flick has become the biggest victim. What can I say, that I haven’t already said? Yes, there have been a couple of exceptions to the rule. If a movie wasn’t as convincing as it should have been due to production value limitations, or poor acting; if the movie was considerably lacking in one or more important elements, then, yes, perhaps a remake would do the original justice. But to simply re-do a movie because you can ...?
Zack Snyder’s re-envisioning of Dawn of the Dead (2004) was an improvement on Romero’s original. I know a lot of diehard zombie/Romero fans will beg to differ, and as much as I like his Dawn of the Dead (1978) for its apocalyptic vision, I think Snyder’s is a more visceral, more convincing movie. On the other hand Rob Zombie’s two Halloween re-imaginings are travesties, and did nothing for the quasi-supernatural mythology of Michael Myers.
Supertrash producer Michael Bay and his Platinum Dunes company have already delivered us the utterly unremarkable remake of Friday the 13th (2009) that did sweet fuck all in bringing the unstoppable malevolence of Jason Voorhees back to the frontline of horror villains. Now he plants his Midas touch on another icon of evil: Freddy Krueger … and turns him to stone. A Nightmare on Elm Street (2010) is slick, referential, with photogenic teens (although old photos dated 1986 indicate they’d now all be 20, yet still at high school), numerous dream shocks, a couple of gore set-pieces (but nothing to get excited about), and Jackie Earle Haley playing his second pedophile in less than five years.
Of course a large proportion of the movie-going audience seeing this re-imagining (producers are loathe to call them “remakes”, since there’s a stigma associated with the word) weren’t even born when Wes Craven’s novel and impressively nightmare was first released twenty-six years ago. Craven’s movie was low-budget, but used a lot of ingenuity. Freddy Krueger, played by Robert Englund, possessed a genuinely bizarre and frightening presence, with a deliciously wicked sense of humour - not that the movie was a comedy - but by latter sequels he had became an annoying parody of himself, and with Wes Craven's New Nightmare (1994) the entire series had degenerated into a dreadful diatribe of smugness.
Jackie Earle Haley’s portrayal of Krueger is quite different. He’s altogether more grotesque; the burn scars that cover his face are more realistic, and combined with Haley’s rodent-like features make for a most hideous visage. He’s less mischievous in his evil intent, but strangely less menacing, only more unctuous and disgusting.
Screenwriters Wesley Strick and Eric Heisserer have changed Freddy Krueger's history, now presenting him as a pedophile. In the original he was simply a child killer. Oddly though the word “pedophile” is never once mentioned, not even the words “child molester”, as if the filmmakers are treating the subject matter with kid gloves. There’s real darkness, yet the edges are blurred. There are heinous polaroids that cement Krueger’s guilt, but they are not even glimpsed at. The audience is presented with a ghastly truth, but the true darkness is skimmed over. I despise that kind of cowardness in the horror genre.
This is director Samuel Bayer’s first feature. He’s made a career of directing music videos. Surprise, surprise. He throws in two or three direct lifts from the original movie; The demonic outline of Freddy pushing the fabric of a bedroom wall out over sleeping teenager Kris (Katie Cassidy), Freddy’s bladed glove appearing between the legs of Nancy (Rooney Mara … sorry, Rooney?!) as she momentarily slumbers in a sudsy bath, and the movie’s final moment which, although I was anticipating, was the movie's most satisfying shock set-piece. Not surprising the sequel is already in pre-production (I wonder if the homoerotic undertones of the original sequel will be removed?)
I’ll admit this Nightmare on Elm Street could have been a lot worse. The acting is adequate, although little to no empathy is generated for any of the characters, there’s one or two effective horror moments, such as when Nancy runs down her hallway which turns to thick, viscous blood, engulfing her, and she falls through her ceiling in a bursting bubble of blood, but when compared to the original, the whole productionon seems pointless, especially considering how palpable and creepy Wes Craven’s original was, and made on the smell of an oily Hollywood rag.
Here's the teaser trailer:
Zack Snyder’s re-envisioning of Dawn of the Dead (2004) was an improvement on Romero’s original. I know a lot of diehard zombie/Romero fans will beg to differ, and as much as I like his Dawn of the Dead (1978) for its apocalyptic vision, I think Snyder’s is a more visceral, more convincing movie. On the other hand Rob Zombie’s two Halloween re-imaginings are travesties, and did nothing for the quasi-supernatural mythology of Michael Myers.
Supertrash producer Michael Bay and his Platinum Dunes company have already delivered us the utterly unremarkable remake of Friday the 13th (2009) that did sweet fuck all in bringing the unstoppable malevolence of Jason Voorhees back to the frontline of horror villains. Now he plants his Midas touch on another icon of evil: Freddy Krueger … and turns him to stone. A Nightmare on Elm Street (2010) is slick, referential, with photogenic teens (although old photos dated 1986 indicate they’d now all be 20, yet still at high school), numerous dream shocks, a couple of gore set-pieces (but nothing to get excited about), and Jackie Earle Haley playing his second pedophile in less than five years.
Of course a large proportion of the movie-going audience seeing this re-imagining (producers are loathe to call them “remakes”, since there’s a stigma associated with the word) weren’t even born when Wes Craven’s novel and impressively nightmare was first released twenty-six years ago. Craven’s movie was low-budget, but used a lot of ingenuity. Freddy Krueger, played by Robert Englund, possessed a genuinely bizarre and frightening presence, with a deliciously wicked sense of humour - not that the movie was a comedy - but by latter sequels he had became an annoying parody of himself, and with Wes Craven's New Nightmare (1994) the entire series had degenerated into a dreadful diatribe of smugness.
Jackie Earle Haley’s portrayal of Krueger is quite different. He’s altogether more grotesque; the burn scars that cover his face are more realistic, and combined with Haley’s rodent-like features make for a most hideous visage. He’s less mischievous in his evil intent, but strangely less menacing, only more unctuous and disgusting.
Screenwriters Wesley Strick and Eric Heisserer have changed Freddy Krueger's history, now presenting him as a pedophile. In the original he was simply a child killer. Oddly though the word “pedophile” is never once mentioned, not even the words “child molester”, as if the filmmakers are treating the subject matter with kid gloves. There’s real darkness, yet the edges are blurred. There are heinous polaroids that cement Krueger’s guilt, but they are not even glimpsed at. The audience is presented with a ghastly truth, but the true darkness is skimmed over. I despise that kind of cowardness in the horror genre.
This is director Samuel Bayer’s first feature. He’s made a career of directing music videos. Surprise, surprise. He throws in two or three direct lifts from the original movie; The demonic outline of Freddy pushing the fabric of a bedroom wall out over sleeping teenager Kris (Katie Cassidy), Freddy’s bladed glove appearing between the legs of Nancy (Rooney Mara … sorry, Rooney?!) as she momentarily slumbers in a sudsy bath, and the movie’s final moment which, although I was anticipating, was the movie's most satisfying shock set-piece. Not surprising the sequel is already in pre-production (I wonder if the homoerotic undertones of the original sequel will be removed?)
I’ll admit this Nightmare on Elm Street could have been a lot worse. The acting is adequate, although little to no empathy is generated for any of the characters, there’s one or two effective horror moments, such as when Nancy runs down her hallway which turns to thick, viscous blood, engulfing her, and she falls through her ceiling in a bursting bubble of blood, but when compared to the original, the whole productionon seems pointless, especially considering how palpable and creepy Wes Craven’s original was, and made on the smell of an oily Hollywood rag.
Here's the teaser trailer:
| 198 |
| Vote |
subscribe to this blog
























Comment by Anonymous
Comment by Bryn
Horrorphile
Comment by Deni
Abstract Magick
Cinema Herald
I didn't care for "Watchmen" but I loved "300". I got sick and tired of people complaining that Persian were depicted as inhuman monsters. They completely missed the point that the movie was told from the point of view of the Spartans...and that's how the Spartans would describe their enemies. People usually exaggerate the description of their enemies.
Comment by Bryn
Horrorphile
I loved the look and vibe of the Persians in 300, in fact, I wanted a whole feature just on them!
Comment by Matt Shea
Comment by Bryn
Horrorphile
Then of course there's The Thing remake-cum-prequel ... and we're still waiting for Hellraiser to be remade, and once that is, then we'll get Hellbound: Hellraiser II on the go. Oh, and of course there's the remake of The Evil Dead being made, so there'll be Evil Dead 2 to follow ... ad nauseum.
Comment by JohnDoe
Film & TV on DVD
i do love Jackie's work, may eventually check it out to satisfy the completest in me.
Comment by Bryn
Horrorphile
Comment by Jason King
Sydney Table
Salty Popcorn
Total Randomness
Comment by Bryn
Horrorphile
Comment by Deni
Abstract Magick
Cinema Herald
Comment by Bryn
Horrorphile
On the contrary I think Poltergeist is a very typical horror movie, certainly from Hollywood, but it's also a very well-made one too. Not sure how recently you watched it for the first time. But it was instrumental in turning me into a horrorphile (see my Orble profile). I saw it when it was first released back in 1982, and it scared the pants off me. I had to babysit a house with a friend and we were too frightened to go to bed. Ha! Obviously it was a PG rated horror, and for audiences now, de-sensitized, it probably doesn't pack the same punch, but it holds a dear place in my dark heart.
So what are they doing to it that you find so appalling? I'll have to look into it I guess.
Comment by Deni
Abstract Magick
Cinema Herald
When I first saw it, it definitely scared me. I recently saw it again and it has definitely lost it's 'zing' and of course it would, it's almost 30 years old. But I still pay homage to it by calling it a "classic ghost story".
In the remake, it's predictable and uninspiring. After ghosts take the Hayes family's youngest daughter from their house, built on an ancient holy site, to an alternate dimension, the family fights to bring her back with the help of accomplished researcher fo the paranormal.
I don't know about you but I find nothing spooky about an "alternate" dimension. To me, when you have too much information on your antagonist, they become less of a threat or less spooky. The reason why hauntings are so scary is because it's the unknown.
But still I guess it's all in the delivery. Anyhow, my apologies for changing the subject.
Comment by Bryn
Horrorphile
I remember the sequel had a ghastly sequence where the father got drunk on tequila and swallowed a demonic tequila worm!