by Steve Habrat
It may be blasphemous as a die-hard fan of horror to say this but I’ve never particularly cared for Freddy Kruger. I know, I know, how can I dislike one of the most iconic slashers every projected on the big screen? I guess I saw Wes Craven’sA Nightmare on Elm Street at an older age and Freddy Kruger just came off as a clown in a Christmas sweater. I was so used to seeing campy versions of him that I was never really able to get swept up in the love of the character. Considering Leatherface, Michael Myers, and Jason Voorhees had all undergone the remake treatment, Freddy Kruger was expected to be next monster off the horror remake assembly line. Infinitely better than the Friday the 13th remake but still an artificial bore, A Nightmare on Elm Street does find Freddy Kruger shedding his comedic aura and retreating to the ominous shadows that spit him out and I couldn’t be happier about that. It was great to see someone other than Robert Englund step in as the iconic burn victim and put a fresh spin on the character, something that was greatly needed. Handed over to music video director Samuel Bayer, he works hard to earn the respect of Craven and the fans of the original but the problem is that Michael Bay is on board as a producer and it is incredibly obvious considering the lack of mood and abundance of rubbery special effects.
A Nightmare on Elm Street begins in the Springwood Diner where Kris (Played by Katie Cassidy) meets up with her sleep-deprived boyfriend Dean (Played by Kellan Lutz), waitress Nancy (Played by Rooney Mara), mutual friend Quentin (Played by Kyle Gallner), and Kris’s ex-boyfriend Jesse (Played by Thomas Dekker). It turns out that Dean is afraid to go to sleep because when he does, he dreams of a horrifically burned psychopath who launches gruesome attacks against him. After Dean appears to cut his own throat, the teenagers begin to investigate the ramblings of their deceases friend. As their search continues, they discover that they all may have known each other longer than they thought. They also uncover information about a deceased gardener named Freddy Kruger (Played by Jackie Earle Haley), who was believed to be a pedophile. As this information comes to light, Kris, Nancy, Jesse, and Quentin begin to suffer from the same bizarre dreams that Dean complained about. These dreams are particularly horrific for Nancy, who was always Freddy’s favorite. While more and more teens die of unusual circumstances, Nancy and Quentin race to figure out a way to pull Freddy from the dream world and into the real one so that they can destroy him.
While director Bayer and Bay do very little to rework Craven’c classic story, they do tinker with Freddy’s back-story, which has him a full-on pedophile rather than a child killer with a knife-glove. This swap does make your skin crawl when he creeps out of his hissing boiler room toward one of his victims. Funny enough, Freddy’s favored boiler room was something that could have undergone a bit of a change. It worked okay in the original film but it would have been cool to see Freddy’s lair undergo a bit of a change to match the character’s back-story and appearance. As far as looks go, Freddy certainly looks horrific even if he is largely kept in the shadows for much of the movie. I have to give the filmmakers credit for keeping the monster largely in the dark because that does ratchet up the spooks but when Haley is reveled in the hellish glow of his boiler room, the effects applied to his face look sort of obvious and, dare I say, cheap. The rest of the dream world that takes hold when the characters doze off look familiar, like music video sets reused with buckets of fake blood thrown around. Bayer tries to make them creepier by throwing in little girls who jump rope, play hopscotch, and chant, “One, two, Freddy’s coming for you!” Frankly, I found these scenes to feel more staged than surreal.
Surprisingly, the performances are much better than in the previous Platinum Dunes offering. I certainly think that the casting of Jackie Earle Haley as Freddy Kruger was inspired and he does attack the role with his fangs bared. He ditches the countless one-liners and instead growls loudly over the soundtrack. The flashback sequence that finds him without all the prosthetics and CGI is effectively creepy, mostly because anything dealing with pedophilia is creepy. Then there is Rooney Mara as Nancy, a promising up-and-comer that seems well aware that she is better than the movie she is in. The filmmakers twist Nancy into an angsty teenager who hides away in her room with headphones crammed into her ears and huddles over her paintings she enjoys doing. It seems like Bayer had a hard time trying to work her in front and center in the film, as she almost seems secondary to Kris in the opening sequence. About a half hour in, Mara is the star of this bloodbath, which in turn perks the film up. Cassidy and Dekker are forgettable as disposable teens there simply to die by Freddy’s favored glove. Gallner puts in 110% as Quentin, an equally angsty teenager who has feelings for the arty Nancy.
Considering A Nightmare on Elm Street 2010 is largely drawing from the original film’s storyline, the film lacks any real surprises, which is immensely disappointing. While Bayner certainly has plenty of gore to go around, I found some of the violence to be watered down a bit, a shocker because I figured that the filmmakers would fall back on it. There still is no question that the concept is bright but failure to take it in a new direction stalls the film almost instantly. Let’s be honest here, Bay is certainly not the most creative in the story department. Predictability hangs low over our heads as characters we figure are going to get the knife do and twists we figure are coming fail to get the gasp they are hoping for. Then there is the ending, which I was less than impressed with. It consists of Freddy tossing Nancy around a room while he utters repulsive lines of dialogue her way. Having a monster lick the face of the freaked out heroine can only make us squirm so many times before it seems recycled. Much like Friday the 13th, Bayner tacks on a GOTCHA! moment before fleeing off into the end credits, but it feels like a cheap shot jolt. Overall, A Nightmare on Elm Street 2010 is a lousy film because it never gets off the ground. It feels like it was shot on Hollywood sets with tasteless CGI painted over it to make it more interesting. It never scares us although it does repulse us with its subject matter in a few places. It only grabs a recommendation for Haley’s commanding performance.
A Nightmare on Elm Street 2010 is available on Blu-ray and DVD.
by Steve Habrat
One of the most controversial comic-to-movie-screen adaptations is without question Zack Snyder’s 2009 superhero epic Watchmen. To many comic book aficionados, Dave Gibbons and Alan Moore’s stunning DC Comics graphic novel was considered un-filmable by many who have poured over the blood drenched pages. I have to admit that I fell into the camp that didn’t want to see Watchmen in movie theaters but I was left speechless when I saw the rhythmic trailer in the summer of 2008. Many film geeks consider Snyder a visual director who can’t properly handle a narrative, something that the graphic novel thrives on. So, did the un-filmable turn out to be filmable? For the most part, yes, Snyder took great care in bringing this incredible tale to the big screen, pining over the smallest details on every single page right down to the smallest brushstroke of color. It was gripping, philosophical, jarring, and gorgeous all in the same breath but what it truly lacked was accessibility. I attended the midnight showing of Watchmen with a group of my friends, several who had never read the graphic novel. I was so excited to have them see this movie but when we emerged after two hours and forty minutes, they were less than impressed. They didn’t understand what all the fuss was about. I guess you have to read the comic to really get inside this one.
Without giving too much away about Watchmen, I’ll stick to the bare basics. Watchmen takes us to an alternate 1985, where the world is used to superheroes leaping across the rooftops of buildings and intervening with criminals of all sorts. Superheroes have been a part of daily life since 1938, when a small group of masked avengers known as the ‘Minutemen’ formed an alliance and started fighting crime. As the ‘Minutemen’ began to age, a new generation of crime fighters emerged called the ‘Watchmen’, a new fraternity that ultimately was outlawed by Richard Nixon. Nixon, however, used superheroes to win the war in Vietnam, which has led to multiple re-elections into the 80s. He primarily used the deadly Dr. Manhattan (Played by Billy Crudup), a real-life “Superman” who has gained incredible powers through an unfortunate accident and is now considered a living, breathing, and glowing government weapon. Watchmen begins with the aging hero The Comedian/Edward Blake (Played by Jeffrey Dean Morgan) getting confronted in his apartment by an unknown assailant and being brutally murdered. The police wave the murder off as just a disgruntled old villain that came back to take revenge on The Comedian but masked vigilante Rorschach (Played by Jackie Earle Haley), who continues to prowl the streets even though superheroes are banned, suspects that there may be a bigger plot to wipe out former masks. Rorschach seeks out his old partner Nite Owl II/Daniel Dreiberg (Played by Patrick Wilson) and fills him in on his theory. Dan disregards Rorschach but begins warning other former heroes as a precaution. To make matters worse, the United States and Russia are on the brink of nuclear war.
There was no way for Snyder to bring Watchmen to the big screen without pissing off at least one or two fans. Along with his screenwriters David Hayter and Alex Tse, the crew makes a massive oops by tinkering with the grand finale that did send this fanboy into a tizzy. I was so disappointed that the ending was reworked, taking me a few days after seeing it to really get over my resentment. But then I got to thinking, “Well, if they would have kept the original ending, the film would have been infinitely longer than it already was”. Another aspect that outraged me about Watchmen was the fact that Snyder clipped out the comic-within-the-comic interludes that were found in the comic books. He did okay by releasing a companion DVD that told the story of the Tales of the Black Freighter but I desperately wanted this in the film itself. Once again, I understood that this would have added another half-hour or so to the runtime but I guess I would have sat through a five hour long interpretation of Watchmen if it was available. Don’t let these complaints fool you, I still loved this movie and it did live up to my expectations, which were huge, mind you. I thought there were several moments that were jaw-dropping, the coolest being the opening fight sequence that leads in to one of the most incredible opening credit sequences ever put on film. It has to be seen to be believed. If you have seen the film, even the most disgusted fanboy has to admit it was a spectacular and stirring moment for all.
While Watchmen does have some of Snyder’s trademark slow-motion-into-sped-up fight sequences, the film is interested more in the shattered American Dream and what it takes to bring about peace. Each hero in Watchmen has their own code for how the deal with crime, some believing that “dogs should be put down” while others think they should be turned over to the proper authorities. In the old days, the line between good and evil was as clear as day for the ‘Minutemen’, something the remaining members of that retired group look back on fondly. In the “present day” of Watchmen, things are not so black and white. While Watchmen is a superhero movie, it lacks an arch villain, at least one that really plagues each mask through the lengthy runtime. It is society itself that the group grapples with. Are the “good” citizens worth saving or should we just give in to a war that will ultimately consume us all? Watchmen takes a scary detour when Snyder pulls back the curtain on the Nixon administration, further hinting that we may not be able to trust our leaders in the face of annihilation. They may hand us over to a fiery death just to make peace, or at least fight back against the threat, or simply to save their skins. Each time I watch Watchmen, I still get chills when one of Nixon’s advisors tells him that if nuclear war occurs, the whole east coast will be wiped out and the winds will carry the radiation to New Mexico. Middle America will be okay, which is good news, all things considering. Tell me that is not powerful stuff.
Watchmen has been criticized for some of the performances that make up this mound of ideas. The standout is by far Jackie Earle Hayley’s Rorschach, a fedora-wearing bad ass who growls through his oily mask as he dispatches criminals in the most gruesome of ways. We see a good majority of the story through his ink blotches as he asks us if pedophiles, rapists, and serial killers should really be put behind bars. His simple answer is no but wait until he spouts of the complicated one. He will turn you to ice. Then we have Crudup’s disconnected Dr. Manhattan, a glowing God who single handedly wins Vietnam in about a week. Much of his character is CGI but his distant voice is what truly resonates. Malin Akerman shows up as Laurie Juspeczky/Silk Specter II, a leggy avenger who longs for the affection of her boyfriend Dr. Manhattan. Wilson’s Nite Owl II is appropriately lost, a flabby has-been who hides behind cartoonish spectacles and searches for an excuse to put on his old armor. Jeffrey Dean Morgan is a knock-out as the slimy Comedian, a man who has made some poor choices in his life, laughed at human suffering, and vomited at the American Dream, all while firing his shotgun randomly into a disgruntled crowd of protestors who howl over the very idea of superheroes doing the job of the police. Also on deck is Matthew Goode as Adrian Veidt/Ozymandias, a wealthy former-mask who was known for his speed, strength, and smarts. He is considered the intelligent man on the planet and he is a fascinating character, but Snyder brushes over him, which is very disappointing when it comes to the last act twist.
There is almost too much to be said about Watchmen and it truly is a difficult film to review because there is so much going on within it. There are so many ideas swirling around inside it that we almost loose focus of what the film is actually trying to convey, which is a bit disappointing. The big question here is what it takes to gain peace, but that is just one slice of the pie. I will say that at almost three hours, the film never has a dull moment. There is plenty of action, gore, and sex to keep the younger males busy while Snyder slyly whispers bigger questions into the ear of those willing to look closer. Watchmen also forces conservatism and liberalism to jump into the ring to see who will ultimately triumph. I’ll leave it to you to figure out who trumps the other. While it is impossible for me to cover all the ground that Watchmen covers in this review, I will finish by saying that I think Watchmen is a beautifully ornate study of the superhero. It is well spoken and hypnotic but also a bit bloated, but it still holds your attention throughout the entire ride. I also advise that you read the graphic novel before approaching the film because some of the smaller touches will make more sense. Not perfect but certainly very good, in my opinion, Watchmen stands as one of the best superhero movies out there, with tons of layers to peel back and explore for years to come.
Watchmen is available on Blu-ray and DVD.
by Steve Habrat
After the debacle that was 2010’s Alice in Wonderland, things could only look up for auteur Tim Burton. My initial reaction was not blame at Burton himself but rather was aimed at Disney, who I was certain was tinkering with Burton’s vision. Now we have a new Burton and Johnny Depp mash-up with a remake of the supernatural soap opera Dark Shadows, which is a small step up from Alice in Wonderland but not by much. Dark Shadows is half a good movie and half an even bigger disaster than Alice in Wonderland was. Depp has said in interviews that Dark Shadows is meant to do away with “vampires that look like underwear models”, which is an obvious jab at the perplexingly popular Twilight saga. While Dark Shadows does restore a smidgeon of honor to the vampire genre, Burton shoots his own film in the foot by tacking on an asinine climax that is slathered in CGI nonsense and a droll final showdown that is a stiff as they come. The ending of Dark Shadows left me wondering if Burton is indeed loosing some of his creative juice after all and Disney wasn’t fully to blame for the botched Alice in Wonderland.
Dark Shadows begins in 1782, with Joshua and Naomi Collins leaving Liverpool, England to begin a new life in North America. They bring with them their young son Barnabas, who grows up to be a wealthy playboy and master of Collinwood Manor, the Collins’ gothic seaside dwelling. Barnabas (Played by Johnny Depp) ends up breaking the heart of a witch named Angelique Bouchard (Played by Eva Green), who in turn puts a curse on the Collins to get revenge on Barnabas. After the horrific death of his parents and the love of his life leaping to her death, Barnabas finds himself cursed as a vampire and buried alive in a shallow grave by the fearful citizens of Collinsport, Maine. After being confined for 196 years, a construction crew accidentally frees Barnabas into the alien world of 1972. Confused by the new world around him, Barnabas returns to Collinwood Manor to find the once glorious estate in ruin. Barnabas is quickly introduced to family matriarch Elizabeth Collins Stoddard (Played by Michelle Pfeiffer) and the rest of his dysfunctional descendants. Horrified but the state of the family, Barnabas sets out to restore honor to his family but finds himself pitted once again against the evil Angelique, who is determined to make his undead life even more of a living hell than it already is.
The first half of Dark Shadows is a hilarious fish-out-of-water tale about Barnabas trying so desperately to adjust to life in 1972. He tiptoes about Collinsport with weary caution, baffled by McDonalds, lava lamps, the board game Operation, and television (Trust me, there is tons more that intrigues Barnabas). Elizabeth’s rebellious teenage daughter Carolyn (Played by Chloe Grace Mortez) is appalled by Barnabas, especially when he mistakes her for a prostitute during the first meeting. Set to classic tunes from the Nixon era, Dark Shadows really finds its funky groove early on even if that groove is made up of dry humor. Things really get moving when Barnabas revives the family business, attempts to connect with his relatives (a conversation about wooing women with Carolyn is the highlight moment), and is tortured by Angelique. Half way through, it seems as if Burton remembered that he is making a film that will be released during the summer movie season. He crams the second half of Dark Shadows with nonsensical explosions, CGI creatures, narrow rescues, and a fiery final confrontation. It’s like Burton began making an entirely different movie altogether.
In addition to the quirky first hour, Depp and his supporting cast manage to keep Dark Shadows afloat even when the project falls apart around them. Speaking in a rich British accent and painted up in pasty white make-up, Depp’s Barnabas is one of the politest bloodsuckers to inhabit the screen. He apologizes when he drains one of his poor victims of blood and stands for a lady when she approaches the dinner table. When the vampire violence is called for, Depp becomes vicious but he remains delicate and sensitive for a good majority of Dark Shadows. Near the end, Burton attempts to sell Barnabas as an action hero, a requirement that Depp seems uncomfortable with and it’s blatantly obvious. In addition to his awkward turn at the end, Burton edges Depp out of the way almost completely to unleash multiple twists and reveals for the rest of the cast members. Yet overall, the entire film and the supporting cast really perk up when Depp enters the screen. His performance is silky smooth and his comedic timing is impeccable.
Burton fills the supporting roles of Dark Shadows with the usual suspects as well as several new faces. Burton’s squeeze Helena Bonham Carter shows up as orange haired Dr. Julia Hoffman, the family psychiatrist who is perpetually recovering from the night before and has an infatuation with staying young. Michelle Pfeiffer, who (funny enough) appears to not age, holds her own as the family matriarch Elizabeth. Pfeiffer has some razor sharp chemistry with Depp and I would have liked to have seen more. Christopher Lee has a brief cameo as a sailor who enjoys sipping beer in the local pub. As far as new faces go, the always-welcome Chloe Grace Mortez as Elizabeth’s daughter does rebellious teen a little too good and snags all the best moments with Depp. Eva Green smolders as the sexy Angelique, who seems on top of the world seducing and tormenting Barnabas. Bella Heathcothe as governess Victoria Winters checks in with a rather quiet and reserved performance. She isn’t given too much to do besides be wooed by Barnabas and interact with a CGI ghost. Jackie Earle Hayle as caretaker Willie Loomis, Jonny Lee Miller as Elizabeth’s irresponsible brother Roger, and Gulliver McGrath as Roger’s ghost-seeing son David all do a fine job but are given very little to do.
I wish that screenwriter Seth Grahame-Smith had developed a better story that would have stretched through all 113 minutes of Dark Shadows. The film’s plot dries up halfway through, pauses for a musical intermission from Alice Cooper, and then continues to sputter by on fumes for the rest of its runtime. I couldn’t shake the feeling that Burton and the rest of his crew realized that they had a bunch of money left over so they decided to dump a bunch of unnecessary CGI into the hollow climax. Had Dark Shadows remained consistent, this could have been a serious return to form for the vampire genre, one that manages to be fun, sexy, thrilling, and, yes, creepy too, but Burton and Warner Brothers just couldn’t resist blowing a few things up to appeal to the summer movie crowd. At least Depp held it together and refused to allow Burton to drive a stake through his dignity.