Horror icon Freddy Krueger returns to your nightmares in this remake of the 1984 original. Krueger, played by Jackie Earle Haley (Watchmen, Little Children), is a serial-killer who wields a glove with four blades for fingers. He terrorises and murders people in their dreams, resulting in their death in reality.
The original Wes Craven film spawned seven sequels, a TV series plus 2003's Freddy vs Jason (in which he battles the masked maniac of the Halloween movies).
Krueger’s back-story may seem unnecessarily fleshed out in a case of the remake opting to explain a bit too much, but he displays a deeper level of predatory sadism here that reflects his upgrading of creep from child-killer to child-molester. Haley just ain’t no Englund, no matter how much he tries.
Full reviewKrueger’s back-story may seem unnecessarily fleshed out in a case of the remake opting to explain a bit too much, but he displays a deeper level of predatory sadism here that reflects his upgrading of creep from child-killer to child-molester. Haley just ain’t no Englund, no matter how much he tries.
Full reviewWhile the 1984 film has aged, its now-familiar jolts still pack more punch than this pic's recycled ones, which sometimes register so tepidly as to cause snickers.
Full reviewIn this reimagining of the once popular Elm Street series, the teens of a small American town are dozing off - and being plagued by visions of a man in a red and black striped jumper and with a burned face.
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Liked the original but wished it was unfeasibly generic with a touch more paedophilia? Bingo…
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It’s moderately entertaining and instantly forgettable. Poor Freddy. I can’t help thinking he deserves better.
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I stared at A Nightmare on Elm Street with weary resignation. The movie consists of a series of teenagers who are introduced, haunted by nightmares and then slashed to death by Freddy. So what? Are we supposed to be scared?
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This "Nightmare" is mostly stale goods. You'd think Bayer's music video background would jibe well with the playful surreality of Craven's premise. But when not paying homage -- the claw in the bathtub, the morphing wall -- Bayer surprisingly traffics in factory-level horror atmospherics and loud, saw-it-coming shocks.
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The back-to-the-beginning approach unimaginatively goes through the motions, offering scant justification for its boring existence, at least from an artistic point of view.
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