New Nightmare should be a little bit better. The film has this fantastic second act and goes into the third strong but director Craven’s resolution is tone deaf. He’s making a movie about movies he was involved with, incredibly popular movies he was involved with, and he sacrifices the actual good work he’d been doing to further the commercialist ambitions of the film.
After relying on her for almost the entire film, Craven sells out Heather Langenkamp. And he doesn’t sell her out for Robert Englund or the Freddy Kruger character; he sells her out for himself, because Craven’s a character in the film. And Craven plays himself very, very badly. He and Langenkamp have this incredibly awkward scene where he’s revealing the whole concept of the film (the original Nightmare on Elm Street movies entrapped an ancient nightmare demon who’s now free); it’s way too much exposition, Craven can’t do, but Langenkamp manages to make her side of the scene work. It’s a rough sequence, but it gets a pass because immediately following, the film’s working again.
Watching New Nightmare this time–probably my fourth or fifth time (since the theater)–I kept thinking about how it’s not just Craven’s best work as a director, it’s some of his most enthusiastic. He’s doing a moderate budget action movie, not a horror film. Even when the “monster” finally does appear, Craven finds a balance between danger and accessible “horror.” Putting Miko Hughes, who plays Langenkamp’s nightmare plagued son, in danger–the child in danger trope–is a bold move for Nightmare. Craven acknowledges genre conventions just long enough to ignore them.
J. Peter Robinson’s score is another good example of those ignored conventions. It’s big, epical adventure music, never actually scary or unsettling. Well, until the end credits, when it’s self-aggrandizing, which is appropriate given how Craven closes the picture.
Nightmare’s frustrating; Craven couldn’t make the film–even with his strong direction, particularly of actors–without Langenkamp and he abandons her at the end. It doesn’t seem to be malicious, but it does do disservice to her excellent work in the film. She turns a candyland caricature of “herself” into a person.
Good support from Robert Englund (more as himself than the monster), Tracy Middendorf, Fran Bennett. New Line Cinema executive Robert Shaye’s pretty bad too. John Saxon’s fun though. And Hughes is pretty good, especially given the character arc.
Mark Irwin’s photography is strong. He maintains Craven’s accessibility, but with ominous presence.
The film’s more than worthwhile for Langenkamp’s performance and Craven’s direction. His storytelling choices are what knock over the cards.