Nightmare on Elm Street, A (2010) - Dread Central
Connect with us
newelm.jpg newelm.jpg

Reviews

Nightmare on Elm Street, A (2010)

Published

on

A Nightmare on Elm Street 2010Reviewed by Carmen Potts

Starring Jackie Earle Haley, Rooney Mara, Kyle Gallner, Thomas Dekker, Connie Britton, Clancy Brown, Katie Cassidy, Kellan Lutz

Directed by Samuel Bayer


At the risk of sounding biased or unfair right out of the gate, I have to ask a question that has been on my mind for the last few years: Why do people continue to hold out any hope for these Platinum Dunes remakes? I know brand names are exciting, but after several of these lame assembly line clones, Michael Bay and his posse have consistently proven that they don’t understand a single thing about telling stories or creating characters. Hell, they couldn’t even provide us with basic bloody entertainment in a Friday the 13th movie. That’s the absolute lowest of hurdles! What made anyone think they would fare better with something as imaginative and smart as A Nightmare on Elm Street?

The short answer is they don’t. At this point all of these remakes are pretty much indistinguishable from each other, and this new Nightmare perfectly fits in with the rest as another over-polished, soulless slice of music video stupidity.

If you know anything about Freddy Krueger (which would be everyone reading this site), you know the premise, which is exactly the same this time around: Several kids in the town of Springwood are being killed in their sleep by a burned maniac and must get to the bottom of his revenge quest. If you die in your sleep, you die for real. Great hook, right? It’s too bad all the depth of Wes Craven’s concept has gone waaaaay over the heads of the remake team.

A Nightmare on Elm Street 2010

Where to begin? Director Samuel Bayer embodies all the worst traits of the music video guy turned filmmaker. He over-stylizes every shot without any regard to pace, storytelling, characters, or performances. Bayer has even taken jabs at Craven’s original in the press, and many have commented on how he only took the gig to break out of music videos and into features. That complete lack of passion and understanding comes across in spades. But since this is exactly like every other Platinum Dunes movie, maybe we shouldn’t blame him. Maybe we should just level the blame at the producers, who always seem to be the real directors of these movies anyway.

Regardless, for a “creative team” that has displayed a complete indifference to Wes Craven, they sure love imitating him. Most of the original’s classic setpieces have been repeated – this time with a lot of bad CGI. It’s amazing to see all these iconic sequences sucked of all life, and the whole thing further hammers home why the horror genre loses its charm as filmmakers continue to get lazier with technology. The few nightmare sequences or gags they’re able to come up with on their own are largely uninspired. Even with an unlimited concept at their disposal, they do absolutely nothing new or interesting with the dream universe aside from your typical stalk-n-slash. Epic fail, guys.

The casting of the great Jackie Earl Haley was the one token of good faith and the sole reason many have held out hope for the remake. I hate to say it, but his Freddy Krueger is about as intimidating as a burned Martin Short. You can’t blame the man, though. He tries really hard. Had the character been re-envisioned from the ground up, Haley could have really sunk his teeth in and made it his own. But since he’s dressed in the familiar garb and forced to perform the same ol’ song and dance (albeit with the early darker iteration of Freddy), he comes off as a poor man’s Robert Englund. The new make-up (a mixture of prosthetics and CGI) doesn’t help either: The FX department pushes it so far towards the real that Freddy doesn’t look scary in the slightest. How terrified would you be if the scrawniest patient in a burn ward slapped on a razor glove and came at you?

A Nightmare on Elm Street 2010

And let’s talk about the glove, shall we? Remember the complete non-moment in the Friday the 13th remake when Jason randomly finds his hockey mask sitting on some guy’s floor? Well, that same lack of care has been put into Freddy’s origins. Moments that are supposed to be big and signature come off as under-played and limp. I’m still unsure where Freddy’s signature glove came from (he just “has” it in the finished film) aside from one limp visual connection. A lot of this has to do with the big third act twist that re-invents Freddy’s past crimes in a way that is both bold and utterly preposterous.

But what really kills this movie are the characters. There isn’t a single solitary person here to care about. The original Nightmare may be dated in many respects, but it was the intense character dynamics and relationships that kept you on edge just as much as when Freddy Krueger was onscreen. In the remake there’s no sense that anyone knows each other at all. The kids here are as stock as they come, and as a result nothing in this movie carries any weight. Every character is boring and completely one-dimensional, particularly Rooney Mara (who takes on Heather Langenkamp’s iconic role of Nancy). She is quite literally one of the blandest heroines to ever hit the screen, and I could feel myself nod off with each of her line deliveries. Sure, the original wasn’t exactly praised for its acting, but even Ronee Blakley comes off like a master thespian by comparison. Call me crazy, but when a Nightmare movie lulls you to sleep, that’s not a good thing.

While it may not reach Freddy’s Dead levels of suck, this new Nightmare commits a far worse offense: It’s mediocre to the point where it leaves absolutely no impression on you whatsoever. I know Platinum Dunes has been DC’s whipping boy for a long time, and most people will think this review no surprise, but let’s get something straight: Nothing would give us more pleasure than to see a PD film that makes us all eat crow. But the reality is their talents are not suited to the horror genre. And certainly not for Elm Street.

No one’s gonna lose sleep over this one.

2 out of 5


“>A Nightmare On Elm Street by Carmen Potts

–>

A Nightmare On Elm Street CENTRAL
A Nightmare on Elm Street 2010 Review Our POSITIVE look at “>A Nightmare On Elm Street by Heather Wixson
A Nightmare on Elm Street 2010 Check out our TOTAL “>News Center
A Nightmare on Elm Street 2010 Find out what we learned from our Set Visit
Brad Fuller - A Nightmare on Elm Street 2010 Read our Interview with Brad Fuller
A Nightmare on Elm Street 2010 Photo Gallery Feast your eyes on our extensive Photo Gallery
A Nightmare on Elm Street 2010 Video Clips Watch all of our Video Clips, Soundbites, and B-Roll
A Nightmare on Elm Street 2010 Video Interviews Get entranced by our Video Interviews with Jackie Earle Haley, Samuel Bayer & Thomas Dekker
A Nightmare on Elm Street 2010 Black Carpet Premiere Make like you’re there with us at our Black Carpet Premiere Coverage

Discuss A Nightmare on Elm Street 2010 in our forums!

Get this site 100% Ad Free Support Us on Patreon!

Reviews

AHS: Cult Review – Clowns, Cults, Politics, and Peters

Published

on

Starring Evan Peters, Sarah Paulson, Billie Lourd, Cheyenne Jackson, Frances Conroy, Mare Winningham, and Allison Pill

Created by Ryan Murphy and Brad Falchuk


** NO SPOILERS **

It’s here. We’ve reached the end. The newest season of “American Horror Story” has ended and now we are here to provide you guys with our season review of AHS: Cult.

Spoiler free.

To start things off let me say I’m not the world’s biggest fan of “American Horror Story”. It breaks down like this: I enjoyed the absolute hell out of the first season of the series (“Murder House”), couldn’t get through “Asylum” (I know, I know, I’ve tried), dug “Coven” for what it was, really enjoyed “Freak Show”, and again I couldn’t get into “Hotel” or “Roanoke”.

That’s the story of me and “American Horror Story”. Plain And simple. But what did I think of the new seventh season of the notorious horror anthology series? Let’s find out.

Back when the seventh season of AHS was first announced (then going by the title “AHS: Election”) I was immediately intrigued by the new season because I heard it would not include any supernatural elements. Like the fourth season, “Freak Show”.

Now I’m a fan of ghosts and weird creature-men with drills for d*cks, don’t get me wrong. But the series has thus far relied almost exclusively on horrors of the supernatural variety (other than “Freak Show”) so this major change of pace was again welcomed by this guy.

Instead of vampires, aliens, and witches this season relied on terrors of the mind. Psychological fears and anxieties. The horrors man does to man. Deep issues.

Oh, and clowns. Like a lot of clowns.

But just because this new season didn’t include anything supernatural, that doesn’t mean the 11-episode season wasn’t filled with twisted visuals and horrifically disturbing acts. No, sir. This season boasted some showstoppers including S&M, gimps, and a house of horrors that wouldn’t be out of place in a Rob Zombie flick. It was all good.

But let’s backtrack a bit here.

Allow me to rundown the season’s plot for those who may be unaware. “AHS: Cult” tells the tale of a world post-election night. The literal dawn of Trump’s America. In one corner we have Sarah Paulson’s soccer mom, trying to fight through life with a series of crippling phobias (including clowns, holes, blood, and being a good person).

And in the other corner, we have Evan Peter’s angry, white (blue-haired) male, looking to seize Trump’s new position of power to bring about the end of… Actually, I want this to be a spoiler-free season review, so I’m just going to say the dude’s got big plans.

Like Manson-size plans. Let’s leave it at that.

With these two characters established, the new season then proceeds to send them spiraling into a collision course of political sabotage, intrigue, and clown-based nope, nope, nope-ing that can only end with one – or both – of them dead as Dillinger.

Overall “AHS: Cult” belonged end-to-end to Mr. Evan Peters. The young actor has continued to show his striking range from season to season of Ryan Murphy’s horror show and this season was no different. Peters’ turn as not only Kai, the blue-haired leader of the titular cult, but as infamous leaders such as David Koresh, Jim Jones, and Charles Manson – to name a few – owed this season.

I can only hope he doesn’t pull a Jessica Lange and opt-out of more AHS next year.

Speaking of top performances, “AHS: Cult ” showcases some other chilling and memorable turns with Alison Pill’s strangely vulnerable, put-upon wife character being the best next to Peters in my eyes. This actress needs to be in more films/TV!

Along with Pill, actress Billie Lourd killed it time and time again. The “Scream Queens” breakout star and Carrie Fisher spawn was yet again a highlight in her second Ryan Murphy series. Bet she has the starring role in next season. Mark my words.

Add to that, the season also boasts a handful of fun cameos, including John Carroll Lynch’s return as Twisty the Clown, Emma Roberts as a bitchy reporter that will do anything to end up on top, and Lena Dunham as SCUM Manifesto writer Valerie Solanas. The cameo cast killed it and I wish they would have been present for more episodes. What are you gonna do?

On the sour side of the season, I didn’t dig Sarah Paulson’s character. At all. But I’m sure that was the point. Right? I’m still not sure. But, boy, I wouldn’t even want to be stuck in line behind her at a Starbucks for three minutes, let alone spend the better part of this season’s 11-hours with her and her whiny bullshite. Urgh.

That said, she pulled it out by the finale. That’s all I’ll say.

In the end, I enjoyed this season as much as – if not more – than any other of the series. “Murder House” will still no doubt go on as my favorite season of the series, but “AHS: Cult” will rank third after season one and “Freak Show”.

While I was on the fence about the season after three episodes, the show ended up ditching Paulson’s character (and/or shifting her arch) after a lull so the episodes picked up quickly. Whenever the season turned its focus back towards Peters (in whichever incarnation he was playing at the time) the show got better and better. Every time.

Not a bad way to spend my Tuesday night for the past 11 weeks.

Bring on season 12.

  • American Horror Story: Cult (2018)
3.5

Summary

The seventh season of Ryan Murphy’s American Horror Story was Evan Peters’ show all the way through. The young actor pulled out all the stops time and time again to make what may have been a lackluster supernatural-free season a winner.

Sending
User Rating 4 (3 votes)
Get this site 100% Ad Free Support Us on Patreon!
Continue Reading

News

The Axiom Review – A Stylish and Clever Slice of Independent Horror

Published

on

By

Starring Hattie Smith, Zac Titus, Nicole Dambro

Directed by Nicholas Woods


The Axiom is an ambitious, well directed, impressively acted and stunningly shot independent horror film that has just a few, teensy little flaws holding it back from greatness (and therefore will have to settle for just being really, really good, instead).

The first thing you realize when watching The Axiom is that this is a beautiful film. Everything is framed and shot in a lush and stylish manner, but one which is always tonally appropriate for the scene.

The second thing you’ll notice, and keep noticing as the film plays out, is that the movie really struck gold with this cast. Not only is there a total lack of the sort of stilted and unnatural acting seen in countless other microbudget horror affairs, but the performances are genuinely fantastic across the board. The main characters are believably chill and relatably normal in the early scenes, and the acting remains just as impressive once things start getting a bit more… intense. It’s not often that an independent horror film has so many good performances that it makes it hard to pick the movie’s acting VIP, but that is undeniably the case here. Taylor Flowers delivers what is probably the showiest performance (and does it very well, indeed), but the entire cast really is quite good.

The central premise of the film is both interesting and original, and touches upon the real life fact (given some recent attention in the ‘Missing 411’ books and documentary) that a lot more people sure seem to go missing out in the woods than seems reasonable, while simultaneously weaving all sorts of folklore, fairy tales and urban legends into the mix. It’s also clever in the way that it very naturally reveals aspects to the relationships between characters that serve to later – or sometimes retroactively – explain some of the more questionable decisions they make or attitudes they display. While that may sound like screenwriting 101, it’s surprising how many films fail to do this. The Axiom rewards the viewer’s attention in other ways as well, with many aspects of the movie that initially feel odd or unnatural receiving reasonable explanations (within the context of the movie) by the end. It’s not quite as challenging (or as rewarding) in this regard as, say, something like Session 9, but it does add a nice layer of complexity to the storytelling.

The film’s score, by Leo Kaliski, is also quite good. There may be a moment here or there where the music hits an overly familiar beat, but overall it not only fits the movie’s tone, but does quite a bit to help set that tone as well.

The only thing that I don’t feel the movie quite pulls off – and I’m trying to be vague here, because I feel like the less you know going into this film, the better – is some of the makeup effects work. The gore stuff is very well executed, but some of the other stuff feels like it was crafted with the intention of shooting it in a more… stylized manner. Instead, filmed as it is here, the result is sometimes less than impressive and can fail to make the impact that the movie seems to be implying that it should. And while some of what the makeup effects lack in execution is made up for with the ingenuity and creativity of their design, it’s still a bit of a shame when they don’t quite pull them off because, aside from a few niggles that I have with the writing, the effects are the only aspect of the film that occasionally fails to live up to the high level of technical proficiency that The Axiom otherwise demonstrates.

ADDITIONAL THOUGHTS:

  • Man, the acting in this movie is really good. The dialogue may stumble once or twice, but these actors always sell it anyway.
  • Give back Mia Sara’s DNA, Hattie Smith!
  • If you’re going to put your female lead in shorts this small, I hope you’re not sensitive to viewers unleashing a nonstop parade of “Has anyone seen my pants / OH GOD WHERE ARE MY PANTS!” jokes.
  • “You just pop this here ‘Blair Witch Stick Person / Anarchy sign’ sticker up on that there windshield of yours, and them park rangers? Well – heh heh – they won’t bother you none, no sir.” Hmmmmm…
  • The film really is shot amazingly well – better than a lot of mainstream releases. Cinematographer Sten Olson has a real future ahead of him.
  • As does writer / director Nicholas Woods, for that matter. Any director who can get this level of quality out of their cast and crew on their first ever film is someone to keep an eye on.
  • “I’ll make a run for it and get help,” says the female lead, and I’m like “Yeah, let her go – she has no pants to weigh her down.”
  • The gore effects in the movie are both realized and utilized very well.
  • Welcome back to horror movies, “I’ll be right back” dialogue spoken unironically by and/or to ill-fated characters.
  • The Axiom
4.0

Summary

In the end, The Axiom is a solid and entertaining flick that manages to wring a level of quality and originality out of the somewhat tired “Don’t Go in the Woods” horror subgenre not seen since 2012’s Cabin in the Woods. The cinematography and acting are hugely impressive, it features a nice, unnerving score, the premise is original and captivating, and the whole thing moves at a nice pace that helps keep the film’s flaws from dragging it down.

Sending
User Rating 3.9 (10 votes)
Get this site 100% Ad Free Support Us on Patreon!
Continue Reading

Reviews

The Dollmaker Short Film Review – Welcome to Heebie Jeebie City!

Published

on

Starring Perri Lauren, Sean Meehan, Dan Berkey

Directed by Alan Lougher


The loss of a young child drives a mother to take a set of unusual measures to preserve his memory, and all it takes is one call to The Dollmaker.

When the short film by Alan Lougher opens up, we see a rather disturbing image of a little boy inside a casket, and the sound of a grieving mom speaking with an unidentified man in the background – he’s requesting something personal of the child to help “finish” his product, and it’s not before long that mom has her little boy back…well, kind of. What remains of the child is the representation of his former self, although it’s contained within the frame of a not-so-attractive doll, and the boy’s father isn’t a believer in this type of hocus-pocus (or the price to have this constructed, either). The doll comes with a specific set of instructions, but most importantly, you cannot spend more than one hour a day with the doll, or else you’ll go mad thinking that the soul inside of it is actually the person that you lost – sounds reasonable, doesn’t it?

Well this is just too good to be true for Mommy, and as the short film progresses, we’ll just have to wait and see what happens to her mind – it’s ultimately a depressing scenario, but Lougher gives it that creepy feel, almost like visiting a relative’s home and seeing their dearly departed pet stuffed and staring at you over the fireplace – HEEBIE-JEEBIE CITY, if you ask me. All in all, the quickie is gloomy, but ultimately chilling in nature, and is most definitely worth a watch, and if I might use a quote from one of my favorite films to apply to this subject matter: “Sometimes…dead is better.”

  • Film
3.5

Summary

Ultimately chilling in nature!

Sending
User Rating 3.31 (16 votes)
Get this site 100% Ad Free Support Us on Patreon!
Continue Reading

Go Ad Free!

Support Dread Central on Patreon!

Join the Box of Dread Mailing List

* indicates required

From Around the Web

Trending