Tag Archives: Heather Langenkamp

New Nightmare (1994, Wes Craven)

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.

2.5/4★★½

CREDITS

Written and directed by Wes Craven; director of photography, Mark Irwin; edited by Patrick Lussier; music by J. Peter Robinson; production designer, Cynthia Kay Charette; produced by Marianne Maddalena; released by New Line Cinema.

Starring Heather Langenkamp (Heather Langenkamp), Miko Hughes (Dylan Porter), David Newsom (Chase Porter), Tracy Middendorf (Julie), Fran Bennett (Dr. Heffner), Robert Englund (Robert Englund), John Saxon (John Saxon), Wes Craven (Wes Craven) and Robert Shaye (Robert Shaye).


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A Nightmare on Elm Street 3: Dream Warriors (1987, Chuck Russell)

Dream Warriors is masterful in its manipulation; it’s the very definition of franchise building. Screenwriters Wes Craven, Bruce Wagner, Frank Darabont and Chuck Russell wrap what appears to be particular kind of narrative–after a film away, Heather Langenkamp–the original’s protagonist–is going to be the focus. Only she’s not. Then it’s like the character who opened the movie–Patricia Arquette–is the actual focus. Only she’s not.

And no one’s going to think Craig Wasson’s the focus, even though he at least gets to participate in it–the focus is building a mythology around Freddy Krueger, a mythology with nothing to do with the actual narrative and entirely self-contained. According to the IMDb trivia page, Craven had it just the opposite; so either Russell or Darabont went in and separated things out. The screenplay is admirably constructed. It’s bad and dumb, but it’s well-constructed for what it’s trying to do.

But Dream Warriors isn’t just masterful in that type of manipulation. Whether it’s getting away with tons of fantasy special effects in a mainstream horror movie or turning the audience’s passive dislike for a character into a tacit approval of Robert Englund’s terrorizing of them, the whole thing is an expert package.

Mood is very important here because, as a director, Russell never wants to show his hand. There’s a certain respectability Dream Warriors is going for, what with having Dick Cavett and Zsa Zsa Gabor in the opening titles, which are a very classy sequence of arts and crafts from Arquette, set to Angelo Badalamenti’s (initially) way too good–for the movie–score. Roy H. Wagner’s photography reminds of giallo, with its shadows against the strong colors of the sets. Except Russell’s rarely ambitious in his direction. Editors Terry Stokes and Chuck Weiss have some effective cuts with Badalamenti’s music, but none of them have to do with Englund’s villain or even the sensational dreamscape where most of the big action takes place. Instead, they’re for the setup, when Dream Warriors is trying to appear sincere.

The acting is mostly bad. Often because of the script’s silliness. Expert construction or not, it’s silly. Langenkamp suffers the worst, except for maybe Priscilla Pointer, who plays the head psychiatrist of the Dream Warriors–a bunch of teens Englund is haunting. Pointer’s character isn’t just played as mean, she doesn’t even get anything to do with it. Arquette’s a little better than Langenkamp but not much. Craig Wasson plays another psychiatrist and even roughs up John Saxon at one point. Saxon’s so out of it he doesn’t look embarrassed in that roughing up scene. John Saxon was in Enter the Dragon. Craig Wasson shouldn’t be able to rough him up.

The rest of the supporting cast is a low mediocre. Except for Larry Fishburne. Larry Fishburne’s excellent. Movie should’ve been about him.

But it’s not made to be excellent, it’s made to further a franchise–and it succeeds. It even gives Englund some occasional good moments amid his otherwise one-note, sensationalist routine.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Chuck Russell; screenplay by Wes Craven, Bruce Wagner, Frank Darabont and Russell, based on a story by Craven and Wagner and characters created by Craven; director of photography, Roy H. Wagner; edited by Terry Stokes and Chuck Weiss; music by Angelo Badalamenti; produced by Robert Shaye; released by New Line Cinema.

Starring Heather Langenkamp (Nancy Thompson), Patricia Arquette (Kristen Parker), Craig Wasson (Neil Gordon), Laurence Fishburne (Max), Priscilla Pointer (Dr. Elizabeth Simms), Rodney Eastman (Joey), Ken Sagoes (Kincaid), Ira Heiden (Will), Jennifer Rubin (Taryn), Penelope Sudrow (Jennifer), Bradley Gregg (Phillip), Nan Martin (Sister Mary Helena), Brooke Bundy (Elaine Parker), John Saxon (Donald Thompson) and Robert Englund (Freddy Krueger).


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A Nightmare on Elm Street (1984, Wes Craven)

The best thing about A Nightmare on Elm Street is the font in the opening titles. It’s something sans serif and it’s slightly off and it looks good. To be fair to the movie’s reputation, I did jump twice, both times at the end; maybe because it was waking me up. As opposed to encouraging me never to sleep again A Nightmare on Elm Street made me wish I was comatose for its running time.

It’s not hard to pinpoint what’s wrong with the movie. Wes Craven’s script is atrocious and his direction is worse. His actors–with the exception of Johnny Depp–are awful. Ronee Blakley might give one of the worst performances I’ve ever seen. John Saxon’s not as bad as the rest, but he’s bad. Heather Langenkamp is terrible as the lead. She and Blakley are never once believable as mother and daughter.

I’ve seen this one before and I remember it being poorly made. I can’t understand why it has a good reputation. The number of Halloween lifts are few, but visible enough to remind of a far better film.

Craven’s ineptness as a director doesn’t get any help from editor Rick Shaine, who’s unspeakably bad. I think some of the problem might be lack of coverage, which would be Craven’s fault, but come on. People move five yards between cuts.

Charles Bernstein’s music is silly.

It’s a crappy movie and it’s disheartening it launched a franchise. I guess audiences weren’t any better read then either.

0/4ⓏⒺⓇⓄ

CREDITS

Written and directed by Wes Craven; director of photography, Jacques Haitkin; edited by Rick Shaine; music by Charles Bernstein; production designer, Gregg Fonseca; produced by Robert Shaye; released by New Line Cinema.

Starring John Saxon (Lt. Thompson), Ronee Blakley (Marge Thompson), Heather Langenkamp (Nancy Thompson), Amanda Wyss (Tina Gray), Jsu Garcia (Rod Lane), Johnny Depp (Glen Lantz), Charles Fleischer (Dr. King), Joseph Whipp (Sgt. Parker) and Robert Englund (Fred Krueger).


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