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MattFini’s Halloween Top 10 Lists: Best Sequels

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Saw VI, much to my surprise, turned out to be one of the better films in the franchise, and in honor of it, I thought we’d look at some of the genre’s best sequels. They’re a fact of life when it comes to horror films so here’s my take on some of the follow-ups that either usurped the originals or, at least, turned out better than expected.

MattFini's Halloween Top 10 Lists: Best Sequels!

10. A Nightmare on Elm Street 3: Dream Warriors (1987)

After the baffling detour into “hey, let’s use Freddy as a metaphor for teenage homosexuality” that was Freddy’s Revenge*, the series realigned itself with this direct follow-up to Wes Craven’s original (with Craven himself contributing to script duties).

Part 3 boasts an imaginative story, good characters (need I remind anyone of Kincaid?), and one of the most memorable locales in the franchise. Director Charles (later Chuck, for some reason) Russell makes great use of the institution setting, and we gleam just enough of Freddy’s backstory to enlighten us without ruining his mystique.

Even as the series was tipping its scales forever toward comedy, Dream Warriors packs some scary and uncomfortable bits (love that intro nightmare, and the puppet death still makes me squirm). Some fans even feel this one trumps the original, an accolade I don’t necessarily share but won’t refute. Part 3 is certainly everything you could want in a sequel, though.

*For the record, I love Freddy’s Revenge. It almost ended up on this list in place of Part 3, but in the end the prospect of John Saxon battling a stop-motion skeleton was too cool to avoid the callout.

9. Gremlins 2: The New Batch (1990)

Nobody was expecting Gremlins 2 to be anything but a retread of the first film, albeit in a big city setting. Imagine the surprise, then, when Joe Dante went to the creative well and returned with a sequel that somehow topped its predecessor.

Part 2 works because these guys weren’t content to merely retread the original. Many of the characters are back for a second go ‘round, but Gremlins 2 is a far more comedic outing with the horrific elements peppered in sporadically. There are more titular creatures on display (Spider Gremlin, Bat Gremlin, Brain Gremlin and, er, Vegetable Gremlin?), each of which contributes to the chaos through a variety of inspired setpieces and musical numbers. Plus, John Glover manages to steal every scene he’s in as the megalomaniacal Daniel Clamp, whose state-of-the-art office tower is the setting for the pandemonium.

8. Exorcist III (1990)

Exorcist III lays claim to one of the greatest slow-burn setpieces in the genre (if you’ve seen it, you know it), but it’s for more than that that I include it here. Writer/director William Peter Blatty adapts his novel Legion for the big screen, crafting a low-key, supernatural film noir as Lt. Kinderman (George C. Scott, replacing Lee J. Cobb in the original) hunts the long deceased Gemini Killer.

Blatty’s sequel works because it doesn’t try to retread Friedkin ground (with the exception of a studio-imposed climactic exorcism sequence that comes out of nowhere), offering instead an intricately plotted mystery loaded with disturbing imagery and some surprising comedic relief. Scott is amazing as the cynical Kinderman, but it’s Brad Dourif’s unforgettable performance that truly mesmerizes (so much so that he practically reprised the role for the 1994 X-Files episode “Beyond the Sea”).

Unfortunately, Blatty’s director’s cut has never seen the light of day, despite being a heavily requested title for Warner Bros. This somewhat truncated version manages to retain much of the care and quality, however, and even if the climax may not completely work (and dig the alternate trailer below, which contains some quick shots of the infamous ‘morphing’ sequence), Exorcist III remains one of the most underlooked horror films of the 1990s.

7. Bride of Frankenstein (1935)

While I’ve never subscribed to the notion that James Whale’s sequel is far superior to the original, this follow-up feels like such a logical progression of the first that you almost have to watch them both back-to-back.

This is the one that gives us the sympathetic monster, very strong dialogue (”To a new world of gods and monsters…”, ”Sometimes I have wondered whether life wouldn’t be much more amusing if we were all devils, no nonsense about angels and being good.”) and lots of bizarre humor (ahead of its time). Colin Clive’s mad scientist is more refined this time around (another reason why I prefer the original), giving way to the sinister Dr. Pretorius (Ernest Thesiger), who intends to give the monster a bride.

Bride also benefits from a rich Gothic feel that very few modern films are able to duplicate, making it perfect for this time of year. It, with the original, are required viewing in my house during the month of October, and while it’s visibly dated, it’s still a ton of fun.

6. Evil Dead 2 (1987)

For those of us who discovered this during the pre-Internet days of VHS, it was especially mind-blowing. Possessed hands; chainsaw-wielding, headless corpses; and one hell of a wicked witch were just some of the surprises that assaulted our unsuspecting senses.

Despite already being familiar with the Necronomicon, courtesy of The Evil Dead, we had no way of knowing what Sam Raimi had in store for us during this second installment. Bruce is a one-man show, enduring an unbelievable parade of torment for much of the running time, and it’s his portrayal of Ash that catapulted him to the very top of the list of horror heroes, where he reigns supreme even today.

This movie keeps building on itself with every Deadite attack growing more wild and outrageous until the ridiculously over-the-top finale. It’s the all-time greatest horror roller-coaster ride, bar none. Swallow this!

5. Psycho III (1986)

Following the critical and financial success of Psycho II, the third installment in the series was wrongfully dismissed as a bloody/sleazy cash-in. I’d like to think its reputation has increased in recent years as Anthony Perkins’ directorial debut is one of the most brilliant horror films of the 1980s.

Wisely, Charles Edward Pogue’s script dismisses with the convoluted ‘whodunit’ nature of the second film to focus on Norman’s psychology. We know that Norman has slipped off the deep end again at the outset, and Part III is all about his struggle. Perkins was never better in the role, alternating between anguished, desperate, and batshit insane at various times, and he imbues the character with a huge amount of sympathy. The tragedy of Norman is heightened by the introduction of Maureen Samuels, a runaway nun who might be the key to his deliverance.

Being a slasher flick, Psycho III features a few nasty kills, but this one’s not about the body count. Stylish direction (Perkins probably made Dario Argento proud), a haunting Carter Burwell score, and great acting across the board (I’m looking at you, Jeff Fahey) help lend credence to the material. While the second film is a very, very good follow-up, the third trumps it in every way.

You’ll never think about lampshades the same way again.

4. Friday the 13th Part VI: Jason Lives (1986)

Friday the 13th is the only major horror franchise where the first film isn’t universally regarded as the best in the series. Jason Lives isn’t only the best sequel in the enduring legacy of Camp Crystal Lake, it’s the best film in the series.

Writer/director Tom McLoughlin injects lots of humor into the action, but the comedy never comes at Jason’s expense. His classic horror influences also shine through, making this one of the most atmospheric of all the Friday flicks, from the chilly graveyard intro to the fog-laden climax atop Crystal Lake itself. Tommy Jarvis (the underrated Thom Mathews) is more of a proactive hero (after he proves to be the direct result of this killing spree, that is) than in any film before or after, making him a great nemesis for the man behind the mask.

In its relatively brisk running time, Jason Lives distinguishes itself from most other entries by offering semi-competent cops; self-referential, but never obnoxious, humor; and colorful characters that largely earn your sympathy before they’re brutally slaughtered. Most importantly, it’s a blast to watch.

3. Halloween 4: The Return of Michael Myers (1988)

With Jason and Freddy reaping box office profits, it was only a matter of time before Michael was brought back into the fold after a one-film hiatus.

And Halloween 4 delivers the goods: lots of Halloween ambiance, a small central group of characters whom we come to care about, and a solid script by Alan B. McElroy that explores Michael’s impact on the town of Haddonfield itself. Halloween isn’t the same without Donald Pleasence, either, and his decision to play Dr. Loomis just a little bit crazier with each passing sequel is a fantastic touch.

Danielle Harris and Ellie Cornell are some of the genre’s most appealing heroines, bringing some very strong performances to the table, and Beau Starr’s Sheriff Meeker is one bad mofo! Michael’s cunning (creating a town-wide power outage so to better stalk his victims) makes him all the more frightening, and the surprise ending had everyone talking back in the day. If you’re going to resurrect an iconic slasher, this is how you do it.

2. Texas Chainsaw Massacre, part 2 (1986)

I’m going to be honest with you: I like Texas Chainsaw Massacre, Part 2 more than the original. It’s not that I don’t adore the first film, but Tobe Hooper’s follow-up is so well written and outrageous that I’ve come to worship it!

From the satirical dialogue (”the small businessman always takes it in the rear!”) to the flat-out disgusting gore FX, Chainsaw 2 is a wildly unexpected assault on Reaganomics. Transforming his much feared cannibal killers into a small and seemingly legitimate business, Tobe Hooper certainly didn’t take the conventional route when creating this follow-up. And instead of recapturing the intensity of the original, he went the opposite route, making a film loaded with steady streams of comedy and gore.

Equipped with lots of memorable (and uncomfortable) bits, a Dennis Hopper performance you’ve got to see to believe, and arguably the greatest set design of all time, this one is a winner through and through.

1. Dawn of the Dead (1978)

The horror epic of all time. Enough said.

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Horror Movies to Be Thankful for on Thanksgiving

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After you’ve gorged on your Thanksgiving feast and the L-tryptophan is kicking in, you’re probably thinking about parking your carcass on the couch and watching movie after movie. But not just any movie – this is a holiday, so naturally you want to celebrate on-topic and gobble some gore.

We’ve got you covered with this curated list of choices from a 25-item menu of Native American-themed thrillers and chillers.

Death Curse of Tartu (1966)

A group of students on an archaeology assignment in the Everglades decide to throw a dance party one night. The spot they choose happens to be the burial site of an ancient Seminole shaman named Tartu. He returns from the dead to take his revenge on those who desecrated his grave site.


Stanley (1972)

A Seminole Vietnam vet (Chris Robinson) goes on the warpath when a leather goods merchant (Alex Rocco) tries to grab his pet snake Stanley to turn him into a belt. A William Grefe cult classic!


Hex (1973)

Set on the Nebraska prairie in the immediate aftermath of World War I, the story follows the spiritual clash between the daughters of a recently deceased shaman and a gang of ex-aviators. Christina Raines, Scott Glenn and Keith Carradine star in this largely unknown, bizarre body-count thriller.


Shadow of the Hawk (1976)

A Canadian Indian (Jan-Michael Vincent) and a newswoman (Marilyn Hassett) join his grandfather (Chief Dan George) on a tribal walk among evil spirits.


The Manitou (1978)

A psychic (Tony Curtis) recruits a witch doctor (Michael Ansara) to get a 400-year-old Indian medicine man off his girlfriend’s (Susan Strasberg) back…. literally. The demonic Native American spirit is a tumor trying to reincarnate.


Prophecy (1979)

When a dispute occurs between a logging operation and a nearby Native American tribe, Dr. Robert Verne (Robert Foxworth) and his wife, Maggie (Talia Shire), are sent in to mediate. Chief John Hawks (Armand Assante) becomes enraged when Robert captures a bear cub for testing, but he’s not as angry as the mutant grizzly mom! George Clutesi plays an Original Person who believes the monster is the personification of the god Katahdin and is there to protect the land.


Nightwing (1979)

A policeman (Nick Mancuso), his girlfriend (Kathryn Harrold) and a scientist (David Warner) track vampire bats on a Maski tribe reservation. Abner Tasupi (George Clutesi) is the shaman who helps them.


Wolfen (1981)

A New York cop (Albert Finney) investigates a series of brutal deaths that resemble animal attacks. His hunt leads him to Native American high worker Eddie Holt (Edward James Olmos) to see if there’s any connection between the killings and old myths and legends from the area. Finney’s character refers to as “the Crazy Horse of the Seventies… the only one of our local militants left alive who’s not making money off of Levi’s commercials.”


Scalps (1983)

Hapless college science students go on a dig around a sacred burial ground for artifacts. Unfortunately, one of them becomes possessed by the evil spirit of Black Claw… and that means only one thing: Now he must slaughter all of his friends.


Eyes of Fire (1983)

Almost lynched in 1750, a preacher (Dennis Lipscomb) leads his followers (Guy Boyd, Rebecca Stanley) west to a valley whose dirt holds a devil of Indian origin.


Firestarter (1984)

Pyrokinetic protagonist Charlie McGee (Drew Barrymore) is in trouble when an evil Native American named Rainbird (George C. Scott) wants to kill her because he is convinced her death would give him special power to take to the mystical other world of his ancestors.


Poltergeist 2: The Other Side (1986)

The Freeling family have a new house, but their troubles with supernatural forces are not over. Whoops, looks like it’s another haunted Native American resting place!


Creepshow 2 (1987)

In the anthology film’s first vignette, “Old Chief Wood’nhead,” thugs who terrorize small-store grocers played by Dorothy Lamour and George Kennedy are attacked in kind by the general store’s wooden Indian.


Pet Sematary (1989)

After moving to an idyllic home in the countryside, life seems perfect for the Creed family…but not for long. Louis and Rachel Creed and their two young children settle into a house that sits next door to a pet cemetery – built on an ancient Indian burial ground.


Ravenous (1999)

Capt. John Boyd (Guy Pearce) is sent to investigate reports of missing persons at Fort Spencer, a remote Army outpost on the Western frontier. After arriving at his new post, Boyd and his regiment aid a wounded frontiersman, F.W. Colghoun (Robert Carlyle), who recounts a horrifying tale of a wagon train murdered by its supposed guide — a vicious U.S. Army colonel gone rogue… and who’s developed a taste for human flesh.


Brotherhood of the Wolf (2001)

In 18th century France, the Chevalier de Fronsac and his Native American friend Mani (Mark Dascosos) of the Micmac tribe are sent by the King to the Gevaudan province to investigate the killings of hundreds by a mysterious beast.


The Wendigo (2001)

Director Larry Fessenden movie uses the Native American Wendigo legend to tell an eerie and hallucinogenic tale about a family trapped in the woods with a dark force.


“Masters of Horror: Deer Woman” (2005)

A burned-out cop believes that a recent string of murders prove that the killer might be a deer-like creature in the form of a beautiful woman (Cinthia Moura) come to life from a local Native American folklore legend.


Skinwalkers (2006)

A 12-year-old boy and his mother become the targets of two warring werewolf packs, each with different intentions and motives. Based on the folk legend from Utah about the spirits of murdered Indians returning to seek revenge upon those who disrespect the land.


The Burrowers (2008)

A search party – played by Clancy Brown, William Mapother and Doug Hutchison – sets out to find and recover a family of settlers that has mysteriously vanished from their home. Expecting the offenders to be a band of fierce natives, the group prepares for a routine battle. But they soon discover that the real enemy stalks them from below.


The Dead Can’t Dance (2010)

Three Native Americans discover they are immune to a zombie virus in this whacky indie comedy.


Savaged (2013)

After thugs brutalize a deaf-mute woman (Amanda Adrienne), the spirit of an Apache warrior takes over her lifeless body and sets out on a bloodthirsty quest for revenge.


Volcano Zombies (2014)

Danny Trejo as a Native American who warns campers about the legendary and very angry lava-laden “volcano zombies.”


The Darkness (2016)

Peter Taylor (Kevin Bacon), his wife and their two children return to Los Angeles after a fun-filled vacation to the Grand Canyon. Strange events soon start to plague the family, and the Taylors learn that Michael brought back some mysterious rocks that he discovered inside an ancient Native American cave.


Mohawk

Mohawk (2017)

After one of her tribe sets an American soldiers’ camp ablaze, a young female Mohawk finds herself pursued by a ruthless band of renegades bent on revenge. Fleeing deep into the woods, Mohawk youths Oak and Calvin confront the bloodthirsty Colonel Holt and his soldiers. As the Americans seem to close in from all sides, the trio must summon every resource both real and supernatural as the brutal attack escalates. Mohawk is a dark, political drama with horror undertones. “While set 203 years ago, Mohawk is unfortunately a timeless story,” says director Ted Geoghegan. “It’s about marginalized people being decimated simply because they exist and scared white men who fail to realize that their racism and bigotry will place them on the wrong side of history.

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Three 1970’s Horrors That Remind Us Why We Enjoy Getting Mental at the Movies

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Crazy is always creepy in horror movies, and it usually comes in two forms: insane escapees or the sane among the crazies.

It’s one storytelling technique when a mental patient escapes and enters our own ordered, peaceful world. It’s quite another when a film drops us in the middle of an asylum to cope with crazy people who, in those movies, always seem to want to stab us.

First off, let me say the mentally ill are one of the most misunderstood and scapegoated minorities in movie history. Other stereotypes have disappeared from the silver screen over the years, but it’s still convenient to blame a killing rampage on an escaped mental patient. We’ll just chalk this up to lazy writing and move on.

Yes, “mentally ill” has become shorthand for “bloodthirsty and lacking in social etiquette.” Kudos to “American Horror Story’s” second season, subtitled “Asylum,” for adding some subtlety to that convention. Seventies horror movies, though, were riddled with stereotypes, enough so that when we travel back to that groovy and dangerous time, we can merrily ignore them and enjoy the scare.

Silent Night, Bloody Night (1972) is a fairly standard who-is-the-killer flick that turns terrifying in the last 20 minutes, when all hell breaks loose and the inmates, quite literally, take over the asylum. There is a nice, icy buildup throughout.

The populace of a small town are suspiciously nervous when a local mansion that had once been a mental institution goes up for sale. Mary Woronov (Eating Raoul) plays it numbingly cool throughout, until the climax, adding punch to the big reveals.

Also known by Night of the Dark Full Moon and Death House, this film is directed by Theodore Gershuny and written by Gershuny, Jeffrey Konvitz and Ira Teller. It’s always a good sign for consistency of vision when the director is also a writer.

I don’t know a lot of people raving about this film. It’s certainly not perfect, but a solid effort in that ’70s B-movie category, seriously creepy, and worth watching. Recommended.

Asylum (1972) has everything I enjoy about well-done, early ’70s horror: a fairly simple premise, creepy sets, and solid acting. The anthology setup works well here, stringing four Robert Bloch stories together. Peter Cushing and Herbert Lom show up along with Britt Ekland and Barbara Parkins.

The effects are not at all bad. Hope you view a cut of this movie that shows a stagehand rather obviously moving a prop in the “Frozen Fear” segment because those kinds of mistakes are fun to see.

Directed by Roy Ward Baker, Asylum delivers like any of the Amicus horror movies: similar to Hammer in that you know you will be entertained. Recommended for classic pre-slasher horror movie fans.

Then there’s Don’t Look in the Basement (1973). I was smart enough to see this in a theater when it came out… but dumb enough to bring a date. What a terrible first date movie!

On the other hand, Don’t Look in the Basement is a very creepy horror film due to several elements that come together beautifully:

– First, it has that grainy, cheap look to it like many early ’70s B-movies that, for me, adds to the mood. That look tells me positively this is not a big studio production. “Oh, this is one of THOSE movies,” says my head. “Anything can happen!” Tension builds.

– Second, it has an obviousness to it that can be unnerving when filmed correctly. Hitchcock used to do this well: We in the audience know the danger, but the hero on screen is completely clueless. We know from the minute the blonde nurse accepts her new job she shouldn’t be there — heck, we knew she shouldn’t even have come into the house!

– Third, most all of the characters may be insane, but that doesn’t mean they don’t have their own distinct stories, personalities and phobias. Crazy is not random. As Grant Morrison wrote in Batman: Arkham Asylum, the thoughts of the insane are not unpatterned. Each person has his or her own complex view of reality, no matter how wrong that perception might be.

There’s also a good deal of blood. And a surprise reveal. Don’t Look in the Basement has been recognized as a B-movie classic, and I enthusiastically recommend it here.

Three 1972 to 1973 horror movies and all three recommended! You may or may not disagree, and if so, I want to hear why! What are your favorite asylum flicks? Comment below or on social media.

Gary Scott Beatty’s graphic novel Wounds is available on Amazon and Comixology. Is madness a way to survive the zombie apocalypse? The strangest zombie story ever written, Wounds throws us into a world where nothing is beyond doubt, except a father’s concern for his wife and daughter. If you enjoy that “What th-?” factor in graphic novels, you’ll enjoy Wounds. For more from Gary Scott Beatty, visit him on Twitter and Facebook.

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Fearsome Fates: Top 10 Deaths from the Nightmare on Elm Street Franchise

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Nightmare 4

How can you escape death when all it does is wait for you to fall asleep? This question of human vulnerability led the late filmmaker Wes Craven on a journey that culminated in one of cinema’s most deleterious and recognizable horror film icons: Freddy Krueger. The man in the Christmas sweater and dirty brown hat is every bit as important to the horror genre as Darth Vader is to science fiction.

What ultimately separated the Elm Street ventures from other macabre movie franchises like Friday the 13th and Halloween was the creativity with which Krueger disposed of his victims, and the fantasy-based elements of the kids’ extravagant nightmares. The gimmick of dying in the dream world equating to death in reality spelled doom for those trying to outrun Krueger’s wrath.

After nine feature films and a calamitous television series that is best left buried in the past, the Elm Street series was more hit than miss.

With that in mind, here are the Fearsome Fates: Top 10 Deaths from the Nightmare on Elm Street Franchise.

10. Freddy’s Dead: The Final Nightmare (Carlos)

“Nice hearing from you, Carlos” – Only Wes Craven’s New Nightmare (1994) was worse in the Elm Street saga than Freddy’s Dead: The Final Nightmare (1991). However, the lackluster sixth installment of the franchise gives fans one very memorable, bone-chilling death sequence. Carlos (Ricky Dean Logan) is attacked by Freddy and the youth has his ears cleansed courtesy of a monstrous Q-tip. Carlos is deaf and loses his hearing aid in the scuffle. Carlos manages to retrieve it only to have the hearing aid meld with his head and ear.

Everything Carlos hears is amplified thanks to Freddy’s torturous hearing aid. Krueger pulls out a chalkboard and then scrapes his sharp claws across it to create an unbearably loud symphony of screeching, which results in Carlos’ head exploding. Freddy blows the kid’s mind, literally.

9. A Nightmare on Elm Street 3: Dream Warriors (Taryn)

“Let’s get high” – Director Chuck Russell and writer Frank Darabont’s much-needed assistance on the Elm Street series marked the beginnings of much more creative carnage, in terms of Freddy’s surreal means of disposing of his victims. While trying to join Kristen (Patricia Arquette) in the dream world, young Taryn (Jennifer Rubin) is separated from her fellow Dream Warriors. With her punk-rock hairdo and knives, the former junkie does battle with Krueger.

Just as Taryn thinks she has gained the upper hand, Freddy turns the tables on her. Krueger reveals that all of his fingers have been replaced with drug-filled syringes. Taryn gasps when she finds tiny little mouths have replaced her drug scars. Freddy injects all of the needles into her arm and pumps her full of the fatal cocktail. Taryn’s screams, as Freddy smirks, “What a rush.”

8. A Nightmare on Elm Street (Glen)

“I’m your boyfriend now, Nancy” – Johnny Depp made his acting debut in the original Nightmare (1984), but his character of Glen didn’t fair too well. Skeptical of the existence of child killer Fred Krueger, Glen comes to the same grisly fate as the other children of Elm Street even though his stalwart girlfriend Nancy (Heather Langenkamp) implores that he doesn’t go to sleep. Glen welcomes his nightly slumber anyway.

Freddy’s glove emerges from the youth’s mattress, latches onto Glen, and pulls him into the bed. Blood explodes from the hole and cascades like a violent waterfall. In uncut footage from the scene, the bed even spits Glen back up with his body slathered in blood.

Wes Craven felt the scene was scarier and more effective without knowing what Glen’s corpse looked like, and it certainly makes one of the following scenes, which occurs between Lt. Thompson (John Saxon) and his officer, much more eerie as they discuss the crime scene’s gruesome atmosphere.

7. A Nightmare on Elm Street 5: The Dream Child (Greta)

“Bon appetit, bitch” – Greta (Erika Anderson) is an aspiring model who watches her weight. When Greta’s mom throws a dinner party the teenager has absolutely no appetite, because her friend Dan Jordan (Danny Hassel) has been killed in an accident. Greta falls asleep during the dinner and Freddy takes full advantage. Krueger shows up in a chef’s hat and proceeds to force feed Greta, in a monstrous-looking high chair.

Greta tries to spit out the pulsating food, but Freddy continues to shove it down her throat. With each passing bite, Greta’s jowls grow more grotesque. Engorged, Greta falls into Freddy’s arms and she eventually chokes to death. This could easily have been No. 1 on our list, if the scene had not been butchered by censors.

The horrifying truth revealed in Stephen Hopkins’ director’s cut: Freddy is feeding Greta to herself! Greta’s stomach has been cut open and Freddy is scooping up her insides and forcing them down the teen’s throat. It’s a chilling and nauseating death sequence, in what is sadly one of the weaker installments of the franchise.

6. A Nightmare on Elm Street 4: The Dream Master (Debbie)

“You can check in, but you can’t check out” – What happens when you team the winsome actress Brooke Theiss with special effects artist “Screaming Mad” George – aka Joji Tani? You get one of the most bizarre death sequences in Nightmare history. Poor Debbie (Theiss), a fitness guru, is really only afraid of one little thing – cockroaches. Naturally, Freddy turns Debbie’s worst fear against her.

While working out, Deb dozes off. She seems to still be in her home gym when Freddy suddenly appears. In a test of strength, Freddy grabs the bar, loaded with weight Deb is trying to bench press, and slowly forces it down toward her. Deb loses the fight and her elbows bend and crack open, under the immense pressure. Her arms are quickly replaced by the legs of a cockroach.

Deb slowly continues her bizarre metamorphosis, until she becomes an oversized bug. Trapped in a roach motel, Deb watches in horror, as Freddy smashes the trap in his hand. Deb’s bug-like guts, and the innards of the roach motel, spew out as Krueger cackles in triumph.

5. A Nightmare on Elm Street 5: The Dream Child (Dan)

“Better not dream and drive” – In the tradition of surviving Elm Street children making it to the sequel, Dread Central presents for your approval Dan Jordan (Danny Hassel). After the events of The Dream Master, Alice (Lisa Wilcox) and her boyfriend Dan are expecting a little bundle of joy. But before they can celebrate the baby’s birth, the couple must endure the wrath of Freddy Krueger once more. Surprisingly, Alice begins dreaming while she is awake. While working a shift at the Crave Inn, Alice comes face to face with both Freddy and his mother, Amanda Kruger (Beatrice Boepple).

Frightened, Alice calls Dan and begs him to join her immediately. Dan ditches his friends at a high school swim party, jumps in his truck and races to his love. Dan falls asleep on route and is confronted by Freddy. The two engage in a high speed race down a busy highway, while Krueger drives like a bat out of hell. Freddy violently shifts gears and Dan is thrown through the windshield.

Frantic to get to Alice, Dan absconds with a motorcycle parked out front of the school gym. But the teen is still asleep and now at the mercy of Freddy’s demonic cycle. The bike begins to merge with Dan and the two become a weird cyborg/motorcycle concoction. Sadly, the nightmare and reality ends when Dan crashes just yards shy of reaching Alice. Like so many other horror film sequences, this one was mercilessly chopped by the ratings board.

4. A Nightmare on Elm Street (Tina)

“Tina, watch this” – Filmmaker Wes Craven’s original Nightmare remains the seminal work that spewed into a cavalcade of money-making sequels, merchandise and a brief series on television. And while the first Elm Street venture is much darker than many of the other films in the series, its first death scene did not lack creativity. Tina (Amanda Wyss) is having bad dreams. After a particularly scary nightmare, Tina, not wanting to be alone while her mother is out of town, invites her best friend Nancy (Heather Langenkamp) and her beau Glen (Johnny Depp) to spend the night.

Tina’s boyfriend Rod (Nick Corri, aka Jsu Garcia) shows up unannounced and takes her mind off those pesky dreams with a sexual romp. However, the hours following take a dark and ominous turn when the lovers fall asleep. Freddy returns to Tina’s nightmare but this time he does away with her. The sequence is one of pure fantasy and horrific brutality. Tina’s stomach is sliced opened. Blood spews and the teen screams for Rod’s help, as she is helplessly dragged up the walls and across the ceiling of her mother’s bedroom.

Rod is forced to watch, as his girlfriend is gutted like a fish and tossed around the room. Sadly, what is transpiring in Tina’s nightmare is happening in reality, too. Tina is slain and Rod is arrested, leaving it to Nancy to figure out how to stop Freddy before there’s no one left to sleep.

3. A Nightmare on Elm Street 4: The Dream Master (Joey)

“How’s this for a wet dream?” – After defeating Freddy in Dream Warriors, the three remaining Elm Street children quickly succumb to Krueger’s revenge. After Kincaid (Ken Sagoes) puts up a valiant, but ultimately useless effort, Freddy moves onto Joey (Rodney Eastman). Joey’s weakness has always been women and while he watches MTV from his waterbed, Joey doses off.

He seems to wake up, as his bed begins to violently thrash about. Joey pulls back his comforter to see the sexy and quite naked Hope Marie CarltonEnamored, Joey watches as Hope swims away into the unseen depths of the waterbed. Suddenly, Freddy comes exploding through the clear mattress.

He grabs Joey and cackles. The pair wrestle, but the best Joey can do is scream for fellow dream warrior Kristen (Tuesday Knight). Freddy slices and dices, as Joey vanishes and the water in his bed turns blood red. It’s one of the most creative deaths in the series and it comes with a great zinger.

2. A Nightmare on Elm Street 3: Dream Warriors (Jennifer)

“Welcome to prime time, bitch!” – Mental patient Jennifer (Penelope Sudrow) cons the orderly Max (Laurence Fishburne) into letting her watch a little T.V. after hours. Jennifer dreams of going to Hollywood and becoming an actress, but this time her nightmare man awaits.

The television screen is static, so Jennifer changes the channels. Without any success, she hits the T.V. A pair of mechanized Freddy arms bursts free from the side of the hanging television set and snatches up the frightened girl.

Krueger’s head then emerges from the top of T.V. He smiles and barks at her, “This is it, Jennifer – your big break in T.V.” After Jennifer screams some more, Mr. K utters that now most famous line, “Welcome to prime time, bitch,” as he slams her head into the television screen. Max returns to find Jennifer’s corpse hanging head-first from the T.V.

1. A Nightmare on Elm Street 3: Dream Warriors (Phillip)

“He was wide awake, all the way down” – Phillip (Bradley Gregg) is just another of the tortured teens incarcerated in Nightmare 3. Sadly, audiences do not have the chance to discover Phillip’s dream power, because he is immediately snuffed out by the guy in the dirty red and green sweater.

Phillip does exhibit an artistic talent for carving puppets, not to mention a proclivity for sleepwalking. Freddy exploits both. In Phillip’s nightmare, Freddy comes to life in the vessel of one of his unfinished puppets. Phillip watches in horror, as Kruger grows to his natural life-size form. Freddy then slashes open Phillip’s arms and legs, pulls out his bloody veins and transforms the boy into one grotesquely deformed puppet.

Krueger directs Phillip, as a puppet master would guide his marionette, and sends the teen hurling off the top of the mental hospital. The other kids watch as their friend plummets to his death, and the method suggests not murder but suicide.

***

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