Editorials
[Special Feature] What A Nightmare! Ranking The 9 ‘Elm Street’ Movies!
After last week’s Dream Warriors Script To Scream I found that I had a lot of leftover thoughts racing in my head regarding the Nightmare On Elm Street franchise in general. Was Part 3 better than Part 1? How did they fail so badly with the remake? Is scary Freddy better than funny Freddy? Why does Freddy’s Dead even exist?
Of course, some of these answers are self evident. Nevertheless, with all of these thoughts about the series cluttering my brain, I decided to embark on my own personal ranking of the films in the franchise (including Freddy Vs. Jason). So here they are, ranked in the simple order of which ones I’d prefer to watch over the others.
Hit the jump to check it out. I expect plenty of you guys to disagree, so feel free to include your own ranking in the comments!
It pretty much goes without saying that the first entry is the obvious winner. Despite some slight hiccups (Freddy visibly landing on a mattress on the staircase, Heather Langenkamp’s performance in general), it’s legitimately a landmark film. For one, it’s actually scary. And I suspect it would be even scarier if the sequels hadn’t taken such a protracted detour into one-liners and camp comedy. In effect, Freddy was spoiled for us – and I wonder if the film would be held in higher regard if the entire franchise ended here.
Putting my wishful pontificating aside, A Nightmare On Elm Street has a genius conceit and a near-perfect villain. Good performances by Amanda Wyss and Johnny Depp (along with great 70‘s-esque whitesploitation performances from Ronee Blakley and John Saxon) seal the deal. It’s a great idea, fully developed and played completely developed.
A lot of people have this as their #1 and I completely understand why. Chuck Russell made a really fun horror-fantasy film that fully realizes (at least as far as its small budget will allow) the potential of the dream world both as a setting and as an extension of its characters (many of whom are actually charismatic). But there are elements that haven’t dated well, such as the needless elaboration on Krueger’s backstory and the idea that his remains needed to be buried. Freddy was explained every bit as much as he needed to be in the first film. That plotline and the trend of one-liners that were kickstarted by Dream Warriors would forever haunt the rest of the series.
Also, many people exult this film as somehow being more imaginative than the first. As I said earlier, I think it fully realizes the concepts outlined in A Nightmare On Elm Street – but I think we’re forgetting how imaginative the construct of that film is. Part 1 truly built the world, Part 3 merely expanded it.
Freddy’s Revenge is incredibly flawed, but Jack Sholder crafted one of the more fun entries in the series. It has some outlandish elements, and it makes the mistake of pulling Freddy into the real world at the pool party – but at least it’s still trying to be scary. And the oft-discussed gay subtext (or more accurately, text) is actually a pretty good theme to go hand in hand with the idea that Mark Patton’s Jesse is scared of becoming Krueger himself.
Freddy’s Revenge is often thought of as being some kind of fiasco – but what that means to me is that it’s just one of the more interesting entries in the series. Exploding parakeets, Clu Gulager, Jesse’s bedroom dance, Bob Shaye in leather – it’s all so d*mn entertaining. And again, Freddy is still a monster here, he’s not quite in “take my wife, please” territory yet.
Here’s where we really start heading downhill. The Dream Master was actually my favorite Elm Street movie when I was growing up, but that’s probably because it was the most successful one. Renny Harlin’s film was utterly embraced my the mainstream – if Freddy ever had a pop culture “moment”, this was most certainly it – which at the time I felt kind of legitimized my fandom.
It’s too bad that a more recent revisiting of the film found it to be utterly lacking in logic, suspense or scares. A lot of it still works, it’s not like the movie is boring, it’s a fast-moving adventure film that colorfully sums up the year 1988. But anytime Freddy impersonates Jaws with his glove, pops out onto the beach and puts on his shades – you know you’ve jumped the shark.
A lot of you might be bothered that this is ranked so low on the list, but this entry is hugely overrated. Wes Craven’s New Nightmare feels antiquated – its attempts at meta commentary now feel more smug and grating than clever. It’s thematic territory that he would cover to far greater effect in Scream just a few years later.
Technically I suppose it’s a better film than The Dream Master, but what does that even mean when it’s such a boring slog? Plus, the Freddy redesign isn’t remotely scary. He’s too brightly lit and looks almost like an WWF Wrestling interpretation of the concept.
Stephen Hopkins’ Dream Child is an utterly confounding film. Why would New Line so drastically slash the budget of this when they were coming off the uber-successful Dream Master? I don’t know, but the result is a cheapo movie that feels completely neutered. I could understand a mandate to spend less if they were aiming to make something more in the vein of Part One, but as the third film in the makeshift trilogy started by Dream Warriors you need to go big or go home. This film did neither. If memory serves it also has the lowest body count of the series – even if Greta’s force-feeding kill is pretty cool. Super Freddy? Motorcycle Freddy? No thanks!
The only reason this movie is placed as high as it is is because it functions fairly well as a Friday The 13th film. The rave scene is fun, the opening kills are cool and brutal and the narrative kind of barely holds together up until act 3. But then Ronny Yu lets the whole thing devolve into a protracted wrestling match between Jason and Freddy. To be honest, who the f*ck cares?
Freddy Vs. Jason is one of those ideas we thought we all wanted, but boy were we wrong. After this and Alien Vs. Predator, hopefully we’ve learned to stop mixing our killers.
A dead, soulless remake that makes no sense and cowardly backs away from the one cool new idea it had – what if Freddy were innocent? If they’d actually gone all the way with that one I would have been a little more impressed, but by no means would it have saved the movie. NOES 2010 benefits from having the resources to render its dream worlds slightly more absorbing than prior entries, but how many points can you award a film for simply having more money to spend? Decent actors and performances are utterly wasted and, worst of all, we lost our shot at returning the franchise to the dark roots of the original. Or continuing the franchise at all. The film was a financial success but there are no plans for a sequel – which speaks volumes about how much fun everyone must have had making this one.
Dear God. I remember seeing an interview with Rachel Talalay where she bemoaned Platinum Dunes for not staying true to the original vision or consulting with the original New Line team for their remake. I’m not sure if she should be throwing stones because her Freddy’s Dead is easily the worst film in the entire franchise.
Awful makeup, horrible one-liners, the completion of Freddy’s journey towards becoming a burn-victim Jay Leno, the rogues gallery of stupid cameos, Wicked Witch Freddy, Bus Driver Freddy, Freddy pushing traps into the road like Wile E. Coyote, and the Nintendo Power Glove.
Am I missing anything? Oh yeah – horrible 3D, a stupid Alice Cooper cameo and yet even more unnecessary clouding of the Krueger backstory by making Lisa Zane’s Maggie his long lost daughter.
Your turn! How would you rank the franchise?
Editorials
‘Leprechaun Returns’ – The Charm of the Franchise’s Legacy Sequel
The erratic Leprechaun franchise is not known for sticking with a single concept for too long. The namesake (originally played by Warwick Davis) has gone to L.A., Las Vegas, space, and the ‘hood (not once but twice). And after an eleven-year holiday since the Davis era ended, the character received a drastic makeover in a now-unmentionable reboot. The critical failure of said film would have implied it was time to pack away the green top hat and shillelagh, and say goodbye to the nefarious imp. Instead, the Leprechaun series tried its luck again.
The general consensus for the Leprechaun films was never positive, and the darker yet blander Leprechaun: Origins certainly did not sway opinions. Just because the 2014 installment took itself seriously did not mean viewers would. After all, creator Mark Jones conceived a gruesome horror-comedy back in the early nineties, and that format is what was expected of any future ventures. So as horror legacy sequels (“legacyquels”) became more common in the 2010s, Leprechaun Returns followed suit while also going back to what made the ‘93 film work. This eighth entry echoed Halloween (2018) by ignoring all the previous sequels as well as being a direct continuation of the original. Even ardent fans can surely understand the decision to wipe the slate clean, so to speak.
Leprechaun Returns “continued the [franchise’s] trend of not being consistent by deciding to be consistent.” The retconning of Steven Kostanski and Suzanne Keilly’s film was met with little to no pushback from the fandom, who had already become accustomed to seeing something new and different with every chapter. Only now the “new and different” was familiar. With the severe route of Origins a mere speck in the rearview mirror, director Kotanski implemented a “back to basics” approach that garnered better reception than Zach Lipovsky’s own undertaking. The one-two punch of preposterous humor and grisly horror was in full force again.
With Warwick Davis sitting this film out — his own choice — there was the foremost challenge of finding his replacement. Returns found Davis’ successor in Linden Porco, who admirably filled those blood-stained, buckled shoes. And what would a legacy sequel be without a returning character? Jennifer Aniston obviously did not reprise her final girl role of Tory Redding. So, the film did the next best thing and fetched another of Lubdan’s past victims: Ozzie, the likable oaf played by Mark Holton. Returns also created an extension of Tory’s character by giving her a teenage daughter, Lila (Taylor Spreitler).
It has been twenty-five years since the events of the ‘93 film. The incident is unknown to all but its survivors. Interested in her late mother’s history there in Devil’s Lake, North Dakota, Lila transferred to the local university and pledged a sorority — really the only one on campus — whose few members now reside in Tory Redding’s old home. The farmhouse-turned-sorority-house is still a work in progress; Lila’s fellow Alpha Epsilon sisters were in the midst of renovating the place when a ghost of the past found its way into the present.
The Psycho Goreman and The Void director’s penchant for visceral special effects is noted early on as the Leprechaun tears not only into the modern age, but also through poor Ozzie’s abdomen. The portal from 1993 to 2018 is soaked with blood and guts as the Leprechaun forces his way into the story. Davis’ iconic depiction of the wee antagonist is missed, however, Linden Porco is not simply keeping the seat warm in case his predecessor ever resumes the part. His enthusiastic performance is accentuated by a rotten-looking mug that adds to his innate menace.
The obligatory fodder is mostly young this time around. Apart from one luckless postman and Ozzie — the premature passing of the latter character removed the chance of caring about anyone in the film — the Leprechaun’s potential prey are all college aged. Lila is this story’s token trauma kid with caregiver baggage; her mother thought “monsters were always trying to get her.” Lila’s habit of mentioning Tory’s mental health problem does not make a good first impression with the resident mean girl and apparent alcoholic of the sorority, Meredith (Emily Reid). Then there are the nicer but no less cursorily written of the Alpha Epsilon gals: eco-conscious and ex-obsessive Katie (Pepi Sonuga), and uptight overachiever Rose (Sai Bennett). Rounding out the main cast are a pair of destined-to-die bros (Oliver Llewellyn Jenkins, Ben McGregor). Lila and her peers range from disposable to plain irritating, so rooting for any one of them is next to impossible. Even so, their overstated personalities make their inevitable fates more satisfying.
Where Returns excels is its death sequences. Unlike Jones’ film, this one is not afraid of killing off members of the main cast. Lila, admittedly, wears too much plot armor, yet with her mother’s spirit looming over her and the whole story — comedian Heather McDonald put her bang-on Aniston impersonation to good use as well as provided a surprisingly emotional moment in the film — her immunity can be overlooked. Still, the other characters’ brutal demises make up for Lila’s imperviousness. The Leprechaun’s killer set-pieces also happen to demonstrate the time period, seeing as he uses solar panels and a drone in several supporting characters’ executions. A premortem selfie and the antagonist’s snarky mention of global warming additionally add to this film’s particular timestamp.
Critics were quick to say Leprechaun Returns did not break new ground. Sure, there is no one jetting off to space, or the wacky notion of Lubdan becoming a record producer. This reset, however, is still quite charming and entertaining despite its lack of risk-taking. And with yet another reboot in the works, who knows where the most wicked Leprechaun ever to exist will end up next.
Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.
The column Young Blood is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.
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