Tag Archives: New Line Cinema

Sinister Summer: “A Nightmare on Elm Street” (1984) Retrospective Review

Posted on by
4

Summertime often means sleep away camps, beach trips, road trips, and more. So many horror films take place during the summer and others serve as material for ghost stories around a campfire. This summer, I thought I would have a shortrun series on some of my favorite horror films that I’ve titled Sinister Summer. With the Friday the 13th next month falling on the precise day that the original Friday the 13th movie takes place and it being Jason Voorhees’ birthday, I first thought I would take a look at the original movie. But then I figured, why not do a retrospective on other horror films during June, July, and August? First up on the Sinister Summer series is my favorite slasher series A Nightmare on Elm Street featuring my favorite horror icon Freddy Krueger. Unlike with other slasher icons who hide behind masks and never speak, I consider Freddy to be the most terrifying because he can talk to his victims and attack you in your sleep–a time in which you are most vulnerable. Moreover, dreams are a private time and he invades that sacred scape. Furthermore, we don’t pay much attention to the actor behind other icons such as Jason, Leatherface, and Michael but actor Robert Englund is synonymous with Freddy because we get to appreciate the actor’s performance, charisma, and enthusiasm. Let’s get started.

1, 2 Freddy’s coming for you; 3, 4 better lock your door, 5, 6 grab your crucifix, 7, 8 gonna stay up late, 9, 10 never sleep again. If that jingle still sends chills down your spine, you’re not alone. Writer-director Wes Craven’s nightmare on screen has been terrifying audiences for more than 30yrs and has even had a crossover with Jason Voorhees. Beyond the silver screen, the Nightmare on Elm Street (NoES) franchise has been featured at Universal Studios Halloween Horror Nights, interactive media (video games), and Robert Englund reprised his most famous role in the Halloween episode of The Goldbergs [in October 2018]. Inspired by a series of articles in the LA Times; three small articles about men from Southeast Asia, who were from immigrant families, who died in the middle of nightmares—and the paper never correlated them, never said, ‘Hey, we’ve had another story like this.” From that short series of articles came the franchise that we know and love today. But there is so much more to NoES than the fact it was inspired by truly unexplained deaths during nightmares. I’ve written before that the horror genre is the best genre for creatively exploring the human condition, questioning standards and observations, providing different perspectives on sociologically, exploring psychology, heteronormativity, and more, often in terrifying ways to get you to think, and NoES certainly gives us lots of material to talk about. At its core, NoES provides ample opportunity to discuss the distinction between dreams and real life, manifesting in the actions of the teens in the film; furthermore, the events of the film transgress the boundary between imagination and reality that provocatively toy with the audience’s perceptions of the real and imagined. It’s like an episode of The Twilight Zone on crack.

On the surface, it appears that the only motivation of Freddy’s kills and trauma-inducing actions is revenge–plain and simple. After all, he was burned alive by the parents of the Elm Street teens. And so he takes his revenge out on the teens and occasionally their parents. Albeit revenge is a classic motivator, it lacks substance; however, there is much more to Freddy and the NoES series than revenge. What truly separates classic Freddy from new (remake) Freddy and from Michael and Jason is his sick commitment to showmanship. It’s just about the kills, it’s about putting on a show for his own amusement. Almost exclusively attacking teenagers, Freddy’s attacks on the mind and body can be interpreted as being symbolic of the various and often traumatic experiences encountered by young people. Our central character Nancy is the straight-laced strong-willed teenager that experiences social and sexual anxiety around her peers and parents. Clearly she is someone who has had a strong relationship with her parents–especially her father–but that relationship has become strained due to her parents becoming increasingly disconnected from her through abuse of alcohol, pills, or simply not being present. One could go so far as to assess that the parents serve as opposition to the goal of defeating Freddy and survival.

Way before the proliferation of YA movies today and unlike typical slasher films, Craven makes it a point to place the power of survival into the hands of the teenagers. He then transfers the importance of physiological control to psychological control over the unconscious mind and that which induces fear. The ability to defeat Freddy lies within the mind of Nancy. And of course, Dream Warriors places that power into multiple minds. Originally Wes Craven wanted Nancy’s entire experience to be one big nightmare but New Line Cinema wanted a darker, more macabre ending in order to pave the way for sequels because that is there the money is. Just like John Carpenter desired for Halloween to be ONE film, Craven originally desired for NoES to be one and done. Fortunately for us, both have become hugely successful franchises. However, many agree that the originals (or even extended to the first 2-3 films) are the timeless ones.

Freudian imagery and analogies are in no short supply in NoES. Even more so than in other horror films where sexual content is common, the manner in which it is used in NoES is symbolic of Freudian themes that are manifested in the manner by which Freddy stalks, toys with, and kills his prey. For the most part, the Freudian imagery is shown through a sexual context in threatening and mysterious ways that play with the teens’ perceptions of their reality versus a nightmarish imagination. Each sexual image or action is representative of some type of trauma to the body that is connected to the mind and thus becomes part of the subconscious that impacts thoughts and actions.

The various scenes that take place within the dreams of the teenagers quite possibly represent Craven’s own nightmares or perhaps even your own. Just like you might talk to a therapist about a recurring dream or nightmare in order to interpret the imagery and meaning, Craven may be working through his own dreams on the screen. The dreams and Freudian symbolism are what separate NoES from the likes of Halloween. Strip away the dreams, and you have a slasher who kills teenagers. These dreams give NoES depth, and this dimension is what beckons us to face the uncanny and pleasurable unpleasures of this film. Importantly, cinephiles and horror enthusiasts should note that the dreams never end. Evidence of this occurs at the end of the film. In terms of Freudian terminology, there is sufficient evidence in the film to suggest that Freddy represents the id (the part of the mind in which innate instinctive impulses and primary processes are manifest). He acts impulsively, killing those who are connected to the ones who burned him alive in that boiler room after discovering he was a child killer (although the original script refers to him as a child molester). He feeds off fear and comes to life in dreams, full of revenge. Clearly audiences are witnessing a battle between the id, ego, and superego throughout the events of the movie. Unfortunately, there is no real winner in this battle of the mind and body. But there is a winner in the actor Robert Englund. Arguably, he is the biggest single horror genre star since Vincent Price.

Let’s not forget the comedic components of NoES. Beyond the dreams and thematic depth that sets this film apart from Halloween and Friday the 13th, is the dark comedy. Part of Freddy’s dark comedic charm is the fact that he can talk and toy with his victims in ways that Jason, Leatherface, and Michael cannot. For one simple reason, Freddy is not hidden behind a mask. Freddy has a sense of humor. Strange as it may seem for a slasher, he often integrates humor into his dialogue and actions. This is what makes him fun to watch. The original NoES could be read as the parents being the villains and Freddy being an anti-hero. For all the reasons to be terrified of Freddy, he comes off as a little goofy. As if he just grabbed the first hat, shirt, and pants he saw walking though a rummage sale. His taunting of Tina in the opening scene of the film comes off as taunting, not horrifying. It’s like he’s a cat, toying with his victims because it is way more fun than going in for an immediate kill. Another favorite comedic moment in the movie is when the long, disgusting tongue comes out of the phone when Nancy is talking on it, and Freddy says “I’m your boyfriend now.”

Variety ran a great article on this very subject. Here is what columnist Jason Zinoman stated, “[Freddy] has a weakness for catchphrases (“better not dream and drive”), dopey word play (“feeling tongue tied?,” he asks a victim tied to a bed by tongues) and a predilection for a certain word that makes him sound like a catty teenage girl (“Bon appetit, bitch”; “Welcome to prime time, bitch,” etc). But there’s no denying the star of so many nightmares knows how to deliver a line. He sells his stale material with an admirable professionalism—he’s the Jay Leno of serial killers.”

Looking back at A Nightmare on Elm Street and the legacy it inspired, it is clear that this film and franchise has so much to offer those of us who have been watching for years and those who are beginning to explore the fascinating genre of horror. NoES has it all. Comedy, visceral horror, commentary on the human condition, explorations of the subconscious, and more. It’s this delicate balance of all these elements that bolsters the plot and characters, gives us a horror film of substance. A film that is more than cheap thrills and chills.

Ryan teaches screenwriting at the University of Tampa. If you like this article, please subscribe! Follow Ryan on Twitter @RLTerry1 and Instagram @RL_Terry for more on movies, theme parks, and entertainment news.

“Life of the Party” movie review

Posted on by
Reply

Positively uplifting! Melissa McCarthy and Ben Falcone’s comedy Life of the Party releasing everywhere today is a quintessential Mothers Day flick that you can take your mom to and enjoy together this Sunday afternoon. McCarthy shines as the brilliant comic she is in this film. Whereas she is typically the brunt of the jokes in the film’s she and her husband often cowrite together, this film provides McCarthy with a platform to truly showcase her talents as a comedic actor who can not only play the butt of the humor but also the vixen who’s captured the eye of a hot frat guy as she sets out to complete her education. McCarthy’s brand of comedy–that authenticity, candidness, optimism–that we have come to know and love, will have laughing and empathizing throughout the movie.

Although themes such as inspiration, determination, and resilience are not uncommon for a comedy, I appreciate many tropes often associated with fish-out-of-water plots were abandoned for something more unconventional yet infectiously charming. Instead of ultimately changing herself for the world around her or changing the world to fit her, she finds her place in the world and creatively directs it to make room for her. Whatever your age, you will likely find yourself connecting with one or more of the characters in this film as it proves that you are never too old to learn something new or complete that which you chose not to earlier in life. From acoustic guitar tunes to Cyndi Lauper and even a surprise performance by Christina Aguilera, the music will have you dancing in your seat. Watch as nervous, scared girls who are afraid of unknown elements in school, grow to become incredible women who form meaningful relationships and heal from tragedy. Each of the principle cast is unique in some way, and it’s these traits that setup conflict and allow the comedy to flow from the conflict naturally. From McCarthy’s Deanna’s endearing vampire-like roommate who low key longs for a friendship to the girl who is also a non-traditional student because of being in a coma for eight years, the film is filled with a colorful cast of likable characters and of course Deanna’s ex and mistress who we love to hate.

McCarthy is joined by comedienne Maya Rudolph and the pair of them dominate any scene they are in together. It never feels overwhelming because they are both saying precisely what you and I are thinking. The two of them exhibit kind of friendship that perhaps your closest friend and you desire to have. Although there is a mild degree of suspense, the film derives most of its energy from the brilliant cast’s reactions to the varying conflicts throughout the film. As there is not much to analyze in this film, you’ll find this review far shorter than my usual ones. But, I desired to write up a piece on it because it’s been largely panned by most critics. Variety and I seem to be among the few who find so much that’s “right” with this film as opposed to what’s “wrong.” Maybe it’s not terribly deep, but it boasts a simple plot with complex characters that provides McCarthy with an opportunity to show a different side to her trademark comedy. With honors!

“The Conjuring 2” movie review

Posted on by
1

Conjuring2Outstanding horror film! Director James Wan has once again provided audiences with a brilliant work of the macabre and supernatural. From the writing to the directing to the acting and cinematography, Conjuring 2 is on par with, if not better than the first. Sometimes the best stories are true ones. And, although elements of the story have to be fictionalized in order to construct a cinematic narrative, grounding the Conjuring movies in the real work of Ed and Lorraine Warren (Patrick Wilson, Vera Farmiga) infuses a dynamic emotional response that directly impacts the increased frightening nature of these films. One of the observations that I appreciate most about, not only this but the predecessor, is not relying upon the jump-scare to curdle the blood. Are jump scares part of the movie? Well, of course! What fun would a horror film be without the entire theatre gasping for breath, jumping, or screaming together??? But Wan goes beyond the jump scare and channels his inner Hitchcock to build suspense and intrigue. The horror film is best appreciated in a group setting. It is a genre that specifically engages the audience on a visceral level. Wan is truly a master at his craft; and I love witnessing how he continues to prove his ability to develop creative horror films.

Ed and Lorraine Warren are back; and have been called upon, by the Catholic church, to investigate the, what’s been dubbed as the “Amityville” of London. Following a self-imposed sabbatical after the investigation of the infamous Amityville haunting on Long Island, Ed and Lorraine fly to London’s Enfield neighborhood to evaluate a reported haunting and possession. Struggling single mother of four Peggy Hodgson hopes that Ed and Lorraine will be able to drive the evil out of her home, and more specifically her youngest daughter Judy. In an effort to discover the truth behind the well-documented alleged demonic haunting and possession, Ed and Lorraine find that they have also become a target. Facing their most challenging case, Ed and Lorraine are determined to help the Hodgson family and drive the evil from the house.

Following the increasing trend for a film, including but not limited to horror, to begin with an elaborate prologue, Conjuring 2 starts with a fantastic moving shot of the famous eyelet windows of the 112 Ocean Avenue house in Amityville. Often filmed from the outside, this shot sequence takes place inside the attic. A much more intimate feel, this was an excellent choice for establishing the case that launched Ed and Lorraine Warren into the public eye. There have been numerous movies and documentaries based on the arguably most infamous haunting in the United States, so it was not necessary for Wan to spend too much time on it. It is, however, a very important scene because the plot/case of Conjuring 2 is directly related to the experience that the Warrens went through during the Lutz investigation. Beyond the establishing a connection between the Amityville and Enfield cases, beginning with the Warrens in the middle of the 112 Ocean Avenue investigation allows for Wan to visually show how and why the Warrens would seek a self-imposed sabbatical from supernatural and demonic investigations. Moreover, this sequence of events that provides copious amounts of plot development material are also instrumental in significant contributions to character development. Although this prologue lasts less than ten minutes, it contains prolific information vital to the plot of Conjuring 2.

It should not be of surprise that Wan uses the camera very strategically to tell this visually driven story. From the rule of thirds to lighting to creative use of angles and movement, the camera is instrumental in setting the macabre mood of the film. One of the visual storytelling elements that Hitchcock was most known for, especially in Psycho, is using the camera’s placement and angle to foreshadow something or someone. Wan takes a page from the Hitchcock handbook and utilizes the camera movement in such a way that you are predisposed to feeling certain that something or someone is about to appear or emerge from the shadows but your game is thrown off when that doesn’t happen–but then totally happens when you least expect it! Throughout the diegesis, you will encounter moment when the characters are faced with inner demons that parallel or symbolize the actual evil entities in the film. Having this subplot concurrent to the foreground aids in creating and maintaining an emotional connection to the characters. Shocking the audience both emotionally and physically. By eliciting dynamic and comprehensive responses to the horror on screen, the film becomes an immersive experience–that is the brilliance behind this dark and sinister tale.

Beyond the exceptional direction by Wan, part of what makes the Conjuring franchise so successful is the exquisite casting. Patrick Wilson (Insidious) and Vera Farmiga (Bates Motel) are perfectly cast in these films. From what I have read about the real Ed and Lorraine Warren, Wilson and Farmiga respectively stay true to the real-life people they are portraying while adding in the necessary acting skills necessary to increase the impact and believability of the film. The quality of the acting that Wilson and Farmiga bring to the film is outstanding. Sometimes, a horror film can have an compelling plot but the actors are so uninteresting that it prohibits the story from making the impression that it should. Wilson and Farming make the characters of Ed and Lorraine Warren interesting to watch and add a performance quality to the film that keeps your attention the whole time. The degree to which they add a sincere care for the victims of hauntings to their respective characters is refreshing and will stay with yowling after the movie closes. As the Warrens are reoccurring characters in the Conjuring franchise, it is vitally important that they are as interesting to watch as the plot itself since their cases are the inspiration for the whole franchise, at least put to this point.

If there is one negative element in the film, it is the weak showdown. Not weak in that it was anticlimactic or uninteresting, but that it felt a little rushed. At 2hrs and 15mins, the film is longer than the average horror film, so it was not necessary to rush the climax of the film. It certainly does not mitigate the experience of the movie, but I feel that it could have been a little more intense. That being said, if you are looking for an excellent movie to kickoff your weekend, then this one is it! At last check, it out-performed both Now You See Me 2 (which should’ve been entitled Now You Don’t) and Warcraft. Even if you have not seen the first Conjuring, you will still enjoy this installment. However, seeing the first one will help you to better understand the Warrens and their unconventional line of work. Can’t wait to see where James Wan and the Warrens take us next!

The Gallows movie review

Posted on by
Reply

The GallowsA new twist on the found footage genre. Blumhouse’s The Gallows is the movie adaptation of the urban legend that sprung out of the real accidental death of Charlie Grimille at Beatrice High School in Nebraska during a play. This is the type of movie that you already know is going to be built upon the concept of the jump-scare, but it takes the often overly employed plot device and actually couples it with sub-plots and proper pacing. Even for the avid horror film fan, this movie will definitely curdle your blood and send your anxiety level through the roof. Surprisingly, this found footage horror film deviates from some of the most common tropes appropriately associated with this horror sub-genre. Although any substantial narrative and dynamic plot lacks from the film, it still provides thrills, chills, and gasps. You may even find yourself resisting closing your eyes to avoid the horror on screen. Be sure to bring a friend or significant other along if you dare to watch!

The Gallows takes place during the final rehearsals for Beatrice High School’s production of the play The Gallows. Back in 1993, the school produced The Gallows but due to a prop malfunction, the character of August was actually hanged. Ever since then, the school until today, never produced the play again. Despite rumors and alleged sightings of paranormal activity in the school’s theatre, Pheifer (Pfeifer Brown) has decided to spearhead a revival of the cursed show. On the evening prior to the show’s opening, Pfeifer catches her co-star Reese (Reese Mishler), his douchey best friend Ryan (Ryan Shoos), and Ryan’s cheerleader girlfriend Cassidy (Cassidy Erin Gifford) dismantling the set. Unfortunately, this chance encounter inside the theatre, is the beginning of a night of terror and mystery.

Due to the very nature of the essence of a found footage movie, it is the type of movie that should be appreciated for what is it–some good scares for an hour or so. This movie genre is not produced to typify the art of filmmaking; but it’s produced for pure unpleasureable pleasure. So, given the goal of the movie, it was very successful in producing frightening imagery for the eyes and embedding terrifying thoughts in the minds of the audience whilst sticking to a coherent plot. I especially liked how the writers included subplots that underscored the more superficial narrative. This is something that is usually left out of found footage movies. Furthermore, the ending is definitely unique to what is typically expected in this sub-genre.

If you’re a fan of horror films, this is definitely one to check out! Even if you are not fond of found footage movies (as is the case with yours truly), you will still find a great deal of enjoyment in being scared for a short while. For further reading, check out the true story and urban legend that serves as the inspiration for this film. http://www.hauntedhovel.com/beatice-high-school-beatrice-nebraska.html and/or https://supernaturalinvestigations.wordpress.com/2008/11/16/the-charlie-grimille-case-beatrice-nebraska/

 

“San Andreas” review

Posted on by
Reply

San_Andreas_posterA thrilling non-stop adventure! If you’re looking for a disaster movie that will have you on the edge of your seat the entire time, then check out Warner Bros., Village Roadshow, and New Line Cinema’s San Andreas starring Dwayne “The Rock” Johnson. Despite having a one-dimensional plot and completely unbelievable scenarios, this movie will keep you entertained for the entire runtime. Spend your time with a ripped helicopter pilot who’s the poster child for a ‘Jack of all trades’ and his beautiful daughter who could out Eagle Scout an Eagle Scout. No dynamic love story here–just extremely high energy, larger than life, visceral complete and utter disaster around every corner. This movie definitely doesn’t do anything to help the realtors and architects in L.A. and San Fran. If you liked the original Earthquake, Volcano, The Day After Tomorrow, and The Core, then you will most likely enjoy this film. Or, if you were the kind of kid who would build cities out of Legos then have enormous fun destroying them, then this is definitely for you.

San Andreas is about a magnitude 9.7 earthquake affecting the famed San Andreas fault line in California. Form the Hoover Dam to China Town, the extremely destructive earthquake reeks havoc in its very wake. Follow Ray (Johnson) as he and his soon-to-be-ex wife Emma (Carla Gugino) unexpectedly team up to save their daughter Blake (Alexandra Deddario) from becoming the next victim to the record-breaking earthquake. Witness the utter destruction and peril that Ray and Emma have to overcome on their way from Los Angeles to San Francisco. Banning together to survive the earthquake, Blake and brothers Ben (Hugo Johnstone-Burt) and Ollie (Art Parkinson) must get to higher ground in order to be rescued by Ray and Emma.

Like with many over-the-top disaster movies, this one really doesn’t offer that much to critique. Of course the plot could be completely picked apart–very easily–but the thing about these movies is that they are produced for pure entertainment value. The writers and director are hoping that you don’t spend too much time thinking about the sheer impossibility or unlikelihood of Ray and Emma finding the aircrafts and watercraft they do. Or, why the city of L.A. would allow one helicopter pilot to use municipal gas and a helicopter to rescue his immediate family, meanwhile, basically abandoning all other citizens to peril. You see, it doesn’t take a film critic or scholar to notice the absurd plot devices and failed logic.

That being said, this film was very entertaining to watch and follows good visual storytelling structure. You have order (very briefly), followed by disorder (most of the movie), and the circle back to order once again. Oh yeah, there is a brilliant seismologist professor and media team at Cal-Tech (California Institute of Technology) who are basically there when the director needs something else to cut to. Otherwise, that whole sub-plot could have essentially been written out. Too bad, though. That subplot of the professor and his media team could have actually been fleshed out to be an intricate part of the plot.

That’s pretty well it. This is a movie that is unapologetic in that it is fully aware of what it is: a “Michael Bay”-ish disaster sci-fi movie. I am pretty sure that the cities of L.A. and San Fran should pretty well be completely leveled after the earthquakes. The movie is released during an appropriate time because it falls after Tomorrowland and before Jurassic World. It also typifies the summer movie season because it is a great popcorn movie that most anyone will enjoy.

If you liked this or other reviews of mine, please FOLLOW or SUBSCRIBE to this blog.