Why is Freddy’s Revenge so bad? It shouldn’t be so bad. No mistake–it’s terrible and it’s terrible mostly because of director Sholder and lead Mark Patton.
While Patton’s awful, it’d be wrong to blame it entirely on him. He doesn’t get any help whatsoever from director Sholder. But then Sholder doesn’t direct any of his actors. It’s painfully obvious with Clu Gulager and Hope Lange, who are both game to try in this waste of their time, but Shoulder never gives them anything. The movie’s so weird because it’s like the actors are doing their own version of the script and Sholder’s doing his version of it.
But the movie’s also weird because, like I said, it should be better. Whoever decided to put an emphasis on having Robert Englund (in an eighty percent bad, twenty percent good) performance made the film worse. It’s hard to believe it would have been screenwriter David Chaskin because he writes all of the dialogue for the supporting cast when Englund’s around as though he’s not the character who’s supposed to be there. It seemingly unintentionally makes Englund’s Freddy Krueger into a bland monster. I say seemingly because if director Sholder had gotten that approach, in observing it, he would have changed it. Freddy’s Revenge isn’t a comedy. Sholder’s got no sense of humor. Of course, editor Bob Brady has no sense of timing so it wouldn’t matter anyway.
Freddy’s Revenge fails on multiple cylinders, but they all seem unaware of one another. The visual effects and Christopher Young’s score weather the film the best, even if Sholder doesn’t know how to shoot the effects sequences. Brady wouldn’t be able to cut them anyway.
You know, maybe another big problem is bad (and uncredited) production design from Gregg Fonseca. It’s entirely possible Sholder wouldn’t have been able to shoot it properly but there’s just something off about Freddy’s Revenge.
Chaskin’s script isn’t good, but it’s got signs of ambition. Sholder’s actively trying to avoid ambition. For instance–the infamous gay subtext. It should have made the movie. Instead it’s just another one of the film’s failures because Sholder’s not cognizant of what he has to direct. And Patton’s desperately in need of direction, unable to figure out the bad–but ambitious–script.
Anything titled A Nightmare on Elm Street Part 2: Freddy’s Revenge should be bad, but nowhere near this bad.