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
You’d think that a film that has Robert Englund, Sid Haig, and Erin Moran starring in it would be this stuff that cult movie dreams are made of. Well, then you need to see the atrocious 1981 Alien rip-off Galaxy of Terror, a Z-grade lemon from legendary producer Roger Corman, the man who churned out countless cult movie classics. Galaxy of Terror, or Mind Warp, as it is sometimes called, is a trippy glow-in-the-dark poser that scrambles the viewer’s brain with vague dialogue, musty storyline, rickety sets, and bland acting. The three things that Galaxy of Terror has going for it is some fairly decent gore for those who are simply looking for that, Tron-like lighting, and a scene in which a gigantic maggot rapes a curvy blonde. Yes, you read that correctly, a rape scene actually acts as a highlight moment for this piece of junk. I was pretty surprised too when the film ended and I found THAT one of the most interesting aspects of the whole experience.
Galaxy of Terror follows a group of space explorers who are sent to the desolate planet of Morganthus to locate another space crew who have all been killed by a mysterious unseen force. The newly landed crew consists of the troubled Captain Trantor (Played by Grace Zabriskie), Commander Ilvar (Played by Bernard Behrens), empath Alluma (Played by Erin Moran), cocky team leader Baelon (Played by Zalman King), the ship’s cook Kore (Played by Ray Walston), the wise space veteran Cabren (Played by Edward Albert), the ship’s technical officer Dameia (Played by Taaffe O’Connell), crewmember Ranger (Played by Robert Englund), and crystal thrower Quuhod (Played by Sid Haig). When the crew arrives, they discover a strange pyramid and slimy alien creatures that begin attack them one by one. Soon, they realize that the aliens are not the only things that they need to fear on this strange planet.
First, lets discuss the rotten aspects of Galaxy of Terror. Director Bruce D. Clark realizes there isn’t much meat to his storyline, a problem that he covers up with colorful lighting, special effects, forced depth from his characters, and lots of gruesome violence. He also doesn’t offer up anything in the way of likeable characters, allowing none of them to fully develop so we start rooting for them. All of the crew members walk around sulking and complaining about shaky events in their past, but it is all so hazily illustrated that you will find yourself not caring in the slightest. Half way through the film, Clark also sloppily establishes that Cabren is going to be the main protagonist. Everyone else that consists of the space crew is there simply to die in some off beat way; the most outrageous is the maggot rape, which just acts as an excuse for Clark to show off O’Connell’s body.
As far as the good aspects are concerned, it’s basically everything that Clark used to cover up his weak storyline. The film contains several scenes that will drive the gore audiences wild. There is death by constricting wires, an alien ripping one crew members stomach open with its claws, that certain rape scene, and more. I will say that the filmmakers did a good job with all of these effects; obviously more care was put into the gross stuff rather than anything truly substantial. The filmmakers also effectively light the sets, which are clearly cheap in their construction, making the planet itself fairly unsettling and surprisingly expansive. The film also benefits from having a few neat monsters lurking about, even if they are uninspired. These monsters are wisely kept largely in the dark or lit in extreme reds or blues, but it is anyone’s guess if they did that purposely because they’d be creepier or if they are really that cheap. Another layer of gross is added to the monsters by Clark’s use of nasty sound effects which accompany their icky attacks.
As far as twisty science fiction horror is concerned, you can do a hell of a lot better than Galaxy of Terror. The only other real reason to see this film is to see a familiar name in the opening credits department. That name would be James Cameron, director of such little films like Avatar and Titanic. Here, he is listed as Production Designer and Second Unit Director. It has been said that he was the one who designed the maggoty severed arm and designed it so the fake maggots would slither around the arm. There have been stories passed around about how Roger Corman used to make bets about how quickly he could shoot a film, the shortest being two days and one night, a rumor that seems to confirm the idea that Corman really didn’t care about the quality of the products he was producing. I could very easily see Galaxy of Terror being a film that was shot quickly, with no real artistic vision or care poured into the craft. Fun only as a did-you-know experience, make Galaxy of Terror a double feature with Alien and make sure Galaxy of Terror is played first. That way, Alien will make up for how letdown you are in Galaxy of Terror.
Galaxy of Terror is now available on Blu-ray and DVD.