by Steve Habrat
Bob Clark’s original Black Christmas is a freaky, freaky movie. Seriously, watch it all by yourself and try not to get creeped out as a slew of sorority sisters are stalked and murdered by an unseen killer all while ethereal Christmas carols play faintly in the background. It is no surprise that Hollywood would get the idea that the film was in desperate need of a redo and then proceed to screw it up royally. Enter director Glen Morgan’s cheap and tasteless 2006 pulp explosion that completely misses what made the original Black Christmas such a spooky little title. Sure, the original Black Christmas contained a little gore here and there, but it relied on atmosphere, getting under our skin with the idea that evil could be lurking anywhere and strike at any moment. Plus, it also featured some pretty good acting (Margot Kidder!), which was another positive. Black Christmas 2006 opts for outrageous shocks, glaringly fake gore, and some truly awful acting (Seriously, what the hell is Mary Elizabeth Winstead doing here?!). Morgan’s monstrosity should really be viewed as an insult considering that Clark’s Black Christmas predated John Carpenter’s legendary 1978 slasher Halloween and deserves credit for shaping the slasher subgenre. These kids just don’t get it!
On a snowy Christmas Eve night, the girls of the Alpha Kappa Gamma sorority house are all preparing themselves for Christmas day. Apparently, most of them don’t have any family to go home to. It turns out that the Alpha Kappa Gamma house used to be the home of Billy Lenz (Played by Robert Mann), a boy who suffered from a liver disorder that caused his skin to be yellow. Billy was loved by his father but despised by his mother and one night, Billy catches his mother and her boyfriend killing his loving father. If this wasn’t traumatizing enough, they then lock Billy away in the attic and his mother proceeds to sexually abuse him. She ends up getting pregnant and giving birth to a girl, Agnes (Played by Dean Friss), who is the apple of her eye. One day, Billy snaps and finds a way to get out of the attic. He then proceeds to murder his mother and eat her. In present day, Billy executes a daring escape from the mental institution he is locked away in and he returns to his childhood home to massacre the sorority sisters staying there. As the girls mysteriously disappear and perverted phone calls terrorize the girls, it is up to Kelli (Played by Katie Cassidy), her suspicious local boyfriend Kyle (Played by Oliver Hudson), and Leigh (Played by Kristen Cloke), the half-sister of one of the missing girls, to get the bottom of the mysterious disappearances and gruesome murders.
With subtly and the sinister slow build long gone, Black Christmas 2006 dives head first into a comic book aesthetic that is bathed in flashing multicolored lights and relentless self-aware violence. Morgan is all about being gross and graphic without ever paying tribute to the restraint of the original film. About the only thing he gets right is the plastic bag used to suffocate the victims but even that gets worn out about twenty minutes in. If suffocating his victims wasn’t enough, he then has his yellow skinned Billy, who looks like he belongs in Robert Rodriguez’s Sin City, chop off the heads of his victims and remove their eyeballs, which he then uses as ornaments on his Christmas tree. And we can’t forget the cannibalism that has been worked into just to make things more sick and twisted. There are only a few moments where Morgan applies the voyeuristic camera work that Clark used but when Morgan does it, it seems like it is just a laughable excuse to show one of his pretty actresses nude. He also can’t seem to leave the gratuitous sex scenes alone and he shoves one after another on us. One character watches a porn video on her computer while a flashback sequence shows Billy’s hideous mother and her boyfriend going to town on each other only to follow that up with her molesting Billy moments after. After a while, I just wanted it all to stop.
Then we have the atrocious acting, which unsurprisingly never rises about very average. Cassidy’s Kelli is absolutely awful as the main heroine, mostly because there is very little development with her character, which makes it very hard to root for her. She is just suddenly being terrorized and that is all there is to it. Hudson is a joke as Kyle, the meathead boyfriend of Kelli who walks around with an ominous smile plastered across his face for most of the movie. It’s like he is begging to be a suspect even though we know he isn’t the killer (He has yellow skin, you morons!). Cloke’s Leigh arrives late to this stabbathon looking for her half-sister, who bites the dust earlier in the film. She teams up with Kelli but both just run around screaming and making one stupid decision after another. The rest of the girls all blend in to the background, cliché characters designed to be hacked up in the most brutal ways possible. The only one that really stands out is Mary Elizabeth Winstead as Heather. She’s the only scream queen here who really knows what she is doing and even she seems a little embarassed. As far as Mann’s Billy is concerned, he just darts around in the shadows and stares bug-eyed at his victims. He certainly doesn’t anything new or exciting with his character.
At a skimpy eighty minutes, Black Christmas 2006 feels entirely too long and too short at the same time. It seems to be dragging its feet in places, especially when the girls sit around and complain about Christmas or listen horrified at the story of Billy Lenz. Then there are the flashbacks that build Billy’s backstory, which are more interested in being repulsive than providing a good scare. There is a last act twist that we can see coming a mile away and when it hits, it seems to make absolutely no sense whatsoever. Probably the only thing that one can like in the film is the nifty little nod to Clark’s other holiday classic A Christmas Story. In one scene, we can clearly see the Old Man’s leg lamp glowing proudly in the darkness. Overall, Black Christmas 2006 is another throwaway remake for the MTV generation; the ones who just can’t seem to sit patiently and enjoy a good, clever scare. It has to be a strobe light of senseless gore, loud fake-out scares, and pretty faces to keep them occupied. I hope Santa delivers a lump of coal to Morgan for this rotten remake.
Black Christmas 2006 is available of Blu-ray and DVD.
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.