61 Days of Halloween: A Nightmare on Elm Street (2010)

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment, I will try and suggest something worth while as well.

A Nightmare on Elm Street shares one, and likely only one, distinction with the film The Perfect Game. That distinction is that it excelled, for the most part, in elements that were new and unique to it and botched what it attempted to recreate. In the latter the recreations were from other sports films, in the former the recreations were from the original version of the film.

Perhaps the best thing this film has to offer is that it seemingly breaks new ground in belief in the horror film. One of the most tired clichés in the horror film is the fact that in the face of overwhelming evidence some characters just flat out refuse to believe that there’s something out of the ordinary happening, or as Buffalo Springfield would say “There’s something happening here, what it is ain’t exactly clear.” Very quickly someone does believe the theory that it’s a nightmare come true. The majority do not believe right away but at least someone does, laying the foundation for the rest of the dominoes to fall.

What this film does casting-wise is unusual, it seems to subscribe to the theory of “Put your worst foot forward and kill it,” meaning that the first two characters focused on and killed (Kellen Lutz as Dean and Katie Fowles as Kris) are the worst actors in the film and thankfully those who receive the majority of the focus are progressively better.

Another positive is Kyle Gallner who carries this film in similar fashion to how he carried The Haunting in Connecticut. His sidekick Rooney Mara is also quite capable and a good sidekick in the film.

So, here comes a mandatory talking point: the CG. Most of the time it’s not great, not great at all. One of the things this film tried to recreate digitally was Freddy stretching through the wall. However, who would possibly want to get that in the can on set by using latex like they did in the 80s? Let’s spend money and use CG so Freddy can squirm all serpentine behind the wall and have it look totally bogus. Yes, bogus. I had to revert to 80s slang to communicate the ineffectiveness of the non-practical technique. Even when the CG was good, like when Kris could no longer fight that she was dreaming and the classroom around her exploded into ash, it only aided the film in going more over-the-top than it needed too.

The major knocks against this film will follow, and again, it’s a shame that they are big and many because it wastes a new interpretation of a now classic character. By having a new actor fill the role of Krueger in such a different way it proves that the character does have as much elasticity and room for creativity as the Joker in Batman. Jackie Earle Haley plays Freddy in a much more straightforward manner and less comedically than Robert Englund, making him more effective in this viewer’s opinion. His performance aside there were sadly some character issues with Krueger.

This film, while it does try to make Freddy a more straightforward and scary version than in the past – most noticeably by giving him a more realistically burned appearance than his prior incarnation, managed to both soften and coarsen him simultaneously. The coarsening was in his dialogue and mainly his diction. It’s a more foul-mouthed, blunt and disgusting Freddy. Apparently, his being a child molester isn’t enough anymore and to push the envelope he has to talk about it some. The way in which he was softened, however, is that he is only now, in death, a killer. His victims were all allowed to live. What was wrong with having him be a ghost-like entity who was still seeking to wreak havoc because he’d been killed by a mob is beyond me. The fact that while alive he didn’t kill one of the children he harmed does give Freddy more motivation, but we’re not dealing with the most plausible concept to begin with so that justification hardly needs addressing and does create a logic flaw in the past, mainly being why would a psychopath think the kids wouldn’t talk?

While there is more to Freddy’s back-story, which is new and good to see because it was a compelling and chilling part of the tale, it created and contributed to the number of issues with logic this film has. Examples of logic flaws include: Nancy at one point sings the “Freddy Song” yet never really follows it up or wonders why she knows it, yet she has repressed other kinds of memories, so what purpose does it serve? Jesse, aptly played by Thomas Dekker, is arrested way too quickly it’s almost like a Reichstag fire situation and aside from lacking credibility it hurts the story. The line “Who can remember being five?” stands out as being quite lazy on a few accounts, firstly, it’s clear Dr. Holbrook (Connie Britton) is hiding something and is not pressed about it and, second, even if I buy that these kids all repressed memories of what happened to them (which is easy to believe), the film also wants me to believe they all stayed in the same town and now almost all go to the same high school and don’t remember having known each other? Also, while the factoid about insomniacs experiencing micro-naps is a good touch and an added suspense element, as then one won’t realize they’re dreaming, it’s repeated ad nauseum in dialogue to make sure we remember the fact. Similarly, the allusion to the Pied Piper of Hamelin is duly noted but has no effect whatsoever on the story and is clumsily done. If the reference was to be fit in why not have Krueger read it to the kids?

Perhaps the biggest logic flaw, which is also the biggest argument for the fact that for some reason they also sought to soften Krueger, is the fact that at one point Quentin (Gallner) doubts Krueger’s guilt. Quentin’s contention is that it’s mass hysteria and they all made it up and were instantly believed, which in a post-McMartin Trial world is a legitimate enough point to address as it wouldn’t be the first false accusation of its kind. The problem is that there is no moment of decision for the character and it’s not even debated it shifts immediately from “this happened” to “we lied” with nothing in between. And only their continued investigation into how to rid themselves of Krueger proves otherwise.

So, here you have a film in which not only is Krueger not a murderer until after his death but you also have his victims believing that he may not have been guilty in the first place. It is not something that increases his villainy. What then is the point of having his absolute evil doubted? Is it armchair psychological reassurance to those who identify, however loosely, with Krueger that it’s OK because he’s not that bad? It seems unlikely but whether people want to admit it or not there is some level of identification felt with an antagonist. As Hitchcock and Truffaut discuss in an interview talking about Psycho there is a degree of that identification in that film and hence a slasher film such that the longer a franchise goes the more the villain is the star and the less you want to see him toppled. Ultimately, it just seems like another unusual decision which muddles the film.

Putting a more human face on Fred Krueger does not make him scarier. Having Jackie Earle Haley play him and not Robert Englund does but all of that is rendered nearly pointless by the rewrite of the character.

An examination of the back-story of A Nightmare on Elm Street was something I wanted to see. What it had the potential of is to intensify the fear because you more readily understand the evil. What should be sought from a more intimate portrait of the cinematic psychopath is not a softer, cuddlier interpretation of what it is he did, by having it be doubted and thus stripping it of its visceral impact, but a closer examination of it.

This very type of close examination was exactly what the Halloween remake did succeed in. It may or may not have crossed every T and dotted every I with regards to why Michael Myers became the way he was but it gave you a true, no-holds-barred glimpse of who he was before he was legend. It didn’t rewrite a history it enhanced a history, and that is what this film had the opportunity to do but it failed.


Mini-Review Round-Up #2

This is something I’m going to do periodically. Basically, I will employ many means to qualify films for the BAM Awards be it either seeing the film theatrically acquiring a DVD either through purchase or on Netflix. This could lead to an influx of several new titles being seen in a short span of time which would be difficult to write full reviews for. At least this way the film gets some of its deserved attention and you get some notion of my thoughts on them.

If you have questions or comments feel free to respond. I always get back.

As always please refer to My Rating Scale for an indication of what the scores mean and if you’re curious where these films might make a dent in my personal awards please check my BAM Considerations.

The Films


Thomas Dekker in Kaboom (IFC Films)

This is a film by director Greg Araki that can only be described as one of the strangest I’ve yet seen and in both a good and a bad way. The story is a widening gyre that goes from very real and gritty to incredibly outlandish. It’s a movie that has me torn between opposite extremes whereas I love the audaciousness of it I cannot say I liked it because it just went too crazy. The film does feature a very strong performance by Thomas Dekker.

To try to synopsize the film is a slippery slope which would likely lead to me having to explain everything. It’s not a film for a mainstream audience. There’s adult content all throughout so that whole viewer discretion is advised spiel applies to this film on many levels.


The Way Back

Jim Sturgess in The Way Back (Newmarket Films)

This is a tale about a courageous escape from a Gulag in Siberia during the second World War.

This is a film by acclaimed director Peter Weir, which is certainly not among his best but it is a very interesting and well-wrought tale. The only part that feels rushed is the ending but there’s a creative montage there. The acting is very strong in the film from the likes of Ed Harris, Jim Sturgess, Colin Farrell and Saoirse Ronan. It’s a very human tale that’s shot beautifully.


On the Shoulders of Giants

The Harlem Rens in On the Shoulders of Giants (Union Productions)

A documentary about the best basketball team you never heard of: the Harlem Rens.

This film has a fascinating subject and some interviews who are able to shine a light on the story of a team who played in the days when professional basketball meant barnstorming, however, the scope of the tale isn’t focused enough and there is a lack of footage of team, which would allow the film to be more visually appealing. I liked learning about the team and there’s great information but it’s not a great film.


The Fab Five

Jimmy King, Juwan Howard, Chris Webber, Jalen Rose and Ray Jackson in The Fab Five (ESPN Films)

A feature-length documentary from ESPN Films that chronicles the five freshmen who changed the landscape of college basketball in the early 90s.

This is a very compelling (as most of ESPN Film’s recent works have been) look at Michigan’s blue chip recruiting class and the cultural and athletic sensation they were and the aftermath of their years in the game. This film garnered a lot of attention due to the controversial comments by Jalen Rose, one of the players and a producer of the film, about Duke. However, the film is bigger and more important than those polarizing comments. Rose’s decision to honestly portray his sentiments at the time and include them in the film are bravura filmmaking. The only part of the film that falls a little short is that the controversy that swirled about the program as the players left was never really foreshadowed and that may have made it more effective.


Bob Dylan: Revealed

Bob Dylan in Bob Dylan: Revealed (Music Video Distributors)

A documentary that tries to encompass a large part of Bob Dylan’s musical career.

This film is like an instructional on how not to construct a documentary. There’s little to no music in a film a bout a musician, interview subjects dominate entire portions of the film, there is insufficient editing of what they say, there is footage that’s described as we’re seeing it and the scope is gigantic. Ultimately, if the subject, Dylan, wasn’t as interesting as he is I’d have given this the lowest possible score but instead it gets by with a


I’ve been a little behind so there will be one or two more coming quite soon.