X-MEN (2000)

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Directed By: Bryan Singer
Story By: Tom DeSanto & Bryan Singer
Written By: David Hayter 
Cinematography: Newton Thomas Sigel
Editor: Kevin Stitt, John Wright & Steven Rosenblum 

Cast: Hugh Jackman, Anna Paquin, Patrick Stewart, Ian McKellen, Famke Janssen, James Marsden, Halle Berry, Rebecca Romijn-Stamos, Bruce Davison, Tyler Mane, Ray Park, 

In a world where mutants (evolved super-powered humans) exist and are discriminated against, two groups form for an inevitable clash: the supremacist Brotherhood, and the pacifist X-Men.

While it was one of the first Marvel movies and one of the bigger superhero series of films to come to the big screen. It seems like it is more remembered as the arrival of -actor Hugh Jackman as a leading man. As in the role he was rebellious and full of charm And swagger. Which pretty much saves the film. As he is also our guide into the world of the film. Even after being introduced ways in.

The film has plenty of special effects which are expected, but strangely feels bland not only now but even when seeing it in the theater after its opening weekend.

At first, I was a bit put off by grown adults running around in costumes. Thinking it would look silly. Sort of like a professional wrestler dressing the same In Real life and that being their personality. Luckily here it is more modern, stylish and leather. So not as bad as one might think.

Other than Hugh Jackman, Patrick Stewart is good in the film. The other scene stealers are Rebecca Romijn and the always excellent Ian McKellen.

As one of the first of its kind before the superhero movie boom took effect. Which this film is responsible for. It was exciting watching this film. As there are some expectations but also the feeling that the sky’s The limit. So you are ready for whatever it wants to throw. Here it is fantasy but also a harsh dose of reality. 

Anna Paquin as Rogue is at the center of the film. Though other than the opening the character and performance go more into the background. More as a damsel in distress and comes off as boring (a fate that would last throughout the franchise of the movies she appeared in) 

She Is supposed to Have this grand peer that in later films makes better characters and even here the villains are after badly. Then turn her more into an afterthought. Especially in comparison to the other films.

This is why Hugh Jackman’s character introduction into the mutant world being also the audience works better. Also as he doesn’t seem to be as ashamed of himself.

The film seems like director Bryan Singer was a little bit over his head and out of his element. As he was trying to create this fantastic world and bring it into reality but also on a certain budget. That would be doubled if not tripled in today’s film market. So the film at times feels like there is some cost cutting. When certain scenes feel like they should be more open and extravagant. This might be why the film feels like it never achieves a grandiosity you hope for, the later films filled in and that was more what they were all about. 

Bryan Singer usually has a cold and distant directing style that is more clinical. Which doesn’t always match the material here. As it is more a comic book film comes to life. Made more for adults, but it also seems drained of much fun and humor. Not to mention cramming a lot into one film.

Look at the character of sabretooth wolverine’s nemesis in the comic books. He is dealt with and almost soon forgotten. Treated more like an ineffectual henchman.

Other than magneto and mystique goes for the rest of the villains. Who never comes across as any true threat. Just more like distractions.

The film isn’t as grand or spectacular as you would think a film of this magnitude should be.

It’s strange Director Bryan Singer when he started his career made vivid thrillers and dramas that were filled with good performances and creepy nature. That seems to have avoided those types of films. Which of anything tended to show his strengths.

Then he started more to make big budgeted special effects loaded fantasy films that while good to passable show more of his weaknesses

As a director, he brings a certain prestige to his films, and maybe as a director who is distant and ambiguous that works. Especially when your film is more about special effects than characters and acting. 

Here He seems to try and mix the two which ends up not working as elegantly as hoped for. As a director, you are required to have a much more sly hand. Which isn’t here. As he never builds the characters before the effects. Here it seems the reverse.

Not to mention all the personal controversy he has had more recently. 

GRADE: C+

BECKY (2021)

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Directed By: Jonathon Milott & Cary Murnion
Written by: Ruckus Skye, Lane Skye & Nick Morris 
Cinematography: Greta Zozula
Editor: Alan Canant 

Cast: Lulu Wilson, Kevin James, Joel McHale, Robert Maillet, Amanda Brugel, Ryan McDonald, James McDougall

A teenager’s weekend at a lake house with her father takes a turn for the worse when a group of convicts wreaks havoc on their lives.

Directors Jonathan Milott & Cary Murnion are back the directors of BUSHWICK & COOTIES independent genre films made this film which fits into Their usual wheelhouse quote nicely, combining elements from their previous films. Kids and action.

This film was a surprise hit at the box office during the pandemic. Is one of the few movies released that went to drive-ins for the most part.

This is appropriate as the film plays more like a high-concept B-movie. Where you would expect one of the parents to be the one to stop the intruders instead it’s a child. 

This is like a more violent HOME ALONE only done as a thriller. A little girl not only takes on escaped prisoners but literally neo-nazi escaped prisoners.

The violence is so graphic that it is unexpected. It also feels cruel and over the top when it does happen. The fact that a child is involved makes it all the more shocking but kind of understandable as there is no pause, just an onslaught with no real thoughts of consequences. After a while, it gets so brutal that It’s not the violence that shocks but when the film chooses to have some innocence or let it be tame. 

Having Kevin James as the villain is a bit of stunt casting that works and adds to the overall shock of the endeavor.

As the plot line is a kind of home invasion DIE HARD. Where you cheer as she takes out the gang, but the film also offers so much cruelty to any and all. It never quite becomes the crowd pleaser. If the criminals weren’t so hate worthy it could easily be seen as a horror film where the little girl is the monster 

What makes the film so strange is that at times it feels stilted and it is quite sure what type of film or at least tone it wants to be.

It could become an action film but comes off as a thriller but really a horror film. There is even one scene that involves a stabbed eye. That is played for laughs but is quite horrific.

When it comes to Becky as a character. She is more the scary one here. As it is one thing for her to have rage issues because she is dealing with the emotional trauma of losing her mother, but when another family member does In Front of her anger reaches a breaking point, and that fits the scenario. It still feels like this anger and rage were there before and only now is she letting it out. So that she seems more like a psychopath. Where the ending doesn’t leave any answers. Except that she knows she is a dangerous bad-ass

It’s a perfectly fine time waster. Though it feels like a kind of rogue straight-to-home video HOME ALONE rip-off that goes harder than expected. Which it wants to seem more surprising but truly is the only thing that stands out. 

Grade: C

THE PRINCESS (2022)

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Directed By: Le-Van Kiet
Written By: Ben Lustig & Jake Thornton 
Cinematography: Lorenzo Senatore
Editor: Alex Fenn

Cast: Joey King, Dominic Cooper, Olga Kurylenko, Veronica Ngo, Alex Reid, Ed Stoppard, Kristofer Kamiyasu

When a strong-willed princess refuses to wed the cruel sociopath, she is kidnapped and locked in a remote tower of her father’s castle. With her vindictive suitor intent on taking her father’s throne, the princess must save the kingdom.

This film was like a female version of THE MUSKETEER. Only that film felt a little cutting edge. There is plenty of action but after a while, it feels very basic and less noteworthy. As the fights are definitely impressive at first but soon become mundane. Not because of the stunt work but because they start to look similar only with a different finish or challenge. As one might wear armor or might have a helmet. 

This film is also like a female teen version of THE RAID only not as violent and not as impressive. Only here the protagonist is working their way to the tower. The most violent act is saved for the villain in the end. It also doesn’t have as much humor but does try to say something about gender roles, even in medieval times.

There is nothing wrong with using previous elements to make a film that reaches a certain audience and while the film at least has its motivations. It still comes off more as an entertainment commercial rather than something with passion or a stronger heart, but if that is what you seek you shouldn’t be too disappointed.

I have to give it to the actress and star of this movie, Joey King. She certainly works a lot and has paid her dues. So it’s nice for her to get a film that she again gets to shine in as a star. 

The film is pretty cut and dry. You get what you expect and it is certainly entertaining with food fight choreography and a Slight sense of humor 

Grade: C-

STRAIGHT EDGE KEGGER (2019)

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Written, Directed & Edited By: Jason Zink
Cinematography: Elliott Abel & Christopher P. Purdy

Cast: Cory Kays, Evey Reidy, Julio Montenegro Jr., Sean Jones, Warren Aitken, Travis Manners, Joe Bachan, Jason Zink 

A young punk and a houseful of drunks square off against the gang of militant straight edgers that he’s abandoned.

The title sounds like a punk rock exploitation film or a party film. It is more the before as like the aesthetic of the characters this feels more like a low-budget D.I.Y. Film made about a certain cultural scene. About and for members of that scene as a worst-case scenario. Though it also invited newcomers. 

The villains of the film are obvious as soon as the first scene. 

It shows how a group meant to police punk rock shows against violence, drugs, and alcohol. So it can be safe for all to have a good time and get corrupted from their vigilante beliefs and moral servitude that quickly comes off as fascism. 

As they end up becoming the villains way too fast. Even in the early scenes, they are more bullies than anything. Who then become murderous without a second thought way too willingly. More out of jealousy from one of their own leaving them. They believe him to be influenced away by the punks rather than the continuous abhorrent violence they seem to court is always looking for a fight and behaving more like jocks. As they constantly have a mentality of going to these shows and supposedly enjoying the music but seem to hate everybody else at these shows who are into the music. So that they are exclusive in who should be allowed there and what songs the bands are allowed to perform. 

Where every character has way too much free time and no form of income. Not to mention the residents seem to have no neighbors.

Towards the third act, the film becomes a horror film. It also has an understanding of fighting against fascism all Of them Are supposed to be against.

The straight-edge characters come off as characters not willing to try something new. As well As huge inferiority complexes. And obsessed with their lost member. 

The film is an exciting experiment with conventional set-up and storytelling. As it is ambitious and it seems the director is going with what they know and exposing independent punk rock bands in the process. 

The film comes off more amateurish in the end. Though a nice try as a first film.

Grade: C-

NOT OKAY (2022)

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Written & Directed By: Quinn Shephard Cinematography: Robby Baumgarten

Editor: Mollie Goldstein

Cast: Zoey Deutch, Mia Issac, Dylan O’Brien, Nadia Alexander, Embeth Daviditz, Tia Dionne Hodge, Brennan Brown, Karan Soni, Dash Perry, Sarah Yarkin 

An ambitious young woman finds followers and fame when she poses as the survivor of a deadly attack, but she soon learns that online notoriety comes with a terrible price.

The time is a satire and goes overboard to remind us throughout as there are few characters and more just representations. As we are warned the protagonist is unlikeable, but that goes for Most of the characters throughout. 

One of the everlasting conceits of satires is Caricatures and the works have cynicism throughout. Usually, you can understand why.

Here the cynicism is there but Also seems to make most of the characters.

The film takes the view that the main character is a privileged caucasian girl and just as it points out. The film mainly stays in that perspective as most of the other characters are the same.

The only time the film departs from those characters is to show the innocent victim who she befriends and is inspired by, as well as the girl’s family. Though before this we only get glimpses of any other characters of color who are more played as familiar stereotypes rather than anything. Resembling a real character or just going against type 

Once she realizes how hollow what she supposedly wanted the whole time fame is. Truly represented by a sexual encounter with her crush an influencer. Where the sex is disappointing and afterward doesn’t respond to her text she then finds true friendship in her therapy group which exposes her to real people and their pain and that is when she seems to try to change. 

Only to be called out or exposed by a co-worker not because it is the right thing to do, but mroe out of jealousy and the film posits the whistleblower as a kind of hood character because as she points out despite it all she at least never lied. Which is only true to her characters in a National sense and way. Not like she never did. As we see her do it earlier in the film. 

Unfortunately, that is how it feels throughout this film. the filmmakers As well as the characters all feel like they are preaching by not trying to come off as preachy. They also seem to believe they come off better from it. So that it feels like a film Made for and by the characters themselves 

It might have been more interesting if the film focused more on the fallout and repercussions. Even the mroe scary ones, like when she is confronted by an ex-soldier who gets physical with her. 

The ending works and probably is the better part of the film. As the second half of the film in general is better. Though that might be a case of having to suffer through the first half. To see why makes the second half so much more enriching.

The problem with the ending is that while the film reminds us that the protagonist is unlikeable, the one thing she actually does that is admirable is that she inspires the innocent character to use her voice and raise awareness. Which makes it ironic, Only after the selfish character stole her sayings and helped cast doubt on the truthfulness of the innocent story. 

What truly saves the film is the second half of the film. Which feels more on point and the

Performance of Zoey Deutch in the lead role. Not only is she believable but she is so energetic throughout. That while her character doesn’t have charm the actress does. Which makes the Audience pay attention and able to stand her character.

Grade: C-

BREAST MEN (1997)

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Directed By: Lawrence O’Neil

Written By: John Stockwell

Cinematography: Robert Stevens

Editor: Michael Jablow

Cast: David Schwimmer, Chris Cooper, Emily Procter, Matt Frewer, Kathleen Wilhoite, John Stockwell, Louise Fletcher, Terry O’Quinn, Lisa Marie, Amanda Foreman, Lyle Lovett, Julie McCullough, Rena Riffel, Raphael Sbarge 

Two doctors create breast implants. However, when success and money come their way, they separate and follow different paths.

An HBO original tv-movie made for cable when it came out. Using the formula of two popular actors not quite strong enough for a box office release. As the subject which you would think fills seats isn’t quite ready for the big screen. 

The film has a good handle on the subject by presenting us a story of characters who seem to have our attention and sympathies at first but then get affected by greed and sort of switch places but in the end are characters we despise.

Don’t know how exactly fact-based the film is but it stays sleazy as the characters and subject matter does. While keeping your interest. It is loosely based on fact obviously to keep it more dramatic and interesting and offer a more moralistic tale. 

As there is plenty of nudity on display which is understandable considering the subject, but obviously more under the male gaze most of the time. As well as having unnecessary sex scenes. 

As we have scenes where women offer their stories and confessions. Where we never see their face, only their breasts, as they talk.

So that it becomes more exploitive than maybe it was initially conceived or maybe that was the plan the whole time to mix the exploitive with the dramatic and offer some kind of poignancy.

As David Schwimmer’s Character goes from being a brilliant surgeon to more on the shy side and having an obsession with breasts and an idea on how to revolutionize plastic surgery on them. To begin, change by success and general greed. To where he seems to have lost his soul. When the consequences of these surgeries present themselves later and he finds no guilt within himself even when his mother is one of the people he performed the procedure on.

Chris cooper’s character at least shows having the most soul. At first not have faith in Schwimmer’s character then goes into business with him but goes their separate ways when Schwimmer feels he deserves more credit and copper’s character is more conservative and performs more for the elite. Whereas Schwimmer seems to perform for whoever as long as they can pay and alter the ethics. As They both reach cruel yet poetic justice ends.

One of the obvious problems of the film is the title says it all. How to tell this story delicately or at least tastefully and there isn’t.

As it is an interesting subject but unfortunately this story of discovery isn’t populated with worthwhile Decent characters. They are filled with characters who seem to want to do the right thing but money and success go to their heads.

In the end, it feels like a film that wants to be moralistic and a dark comedy with dramatic overtones. That unfortunately isn’t that funny and comes off as awkward and dirty.

Grade: C+

ISHTAR (1987)

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Written & Directed By: Elaine May
Cinematography: Vittorio Storaro
Editor: Richard P. Girincione, Stephen A. Rotter & William Reynolds 

Cast: Warren Beatty, Dustin Hoffman, Isabelle Adjani, Charles Grodin, Jack Weston, Tess Harper, Carol Kane, David Marguiles, Aharon Ipale, Herb Gardner, Fred Melamed, Matt Frewer, Alex Hyde White 

Two terrible lounge singers get booked to play a gig in a Moroccan hotel but somehow become pawns in an international power play between the C.I.A., the Emir of Ishtar, and the rebels trying to overthrow his regime.

The history of this film is infamous. From all of Its problems behind the scenes and on the screen. That it was considered a failure. So much so that I am so shocked that no one has written a book about it.

This comes off as a major failure but an interesting one. Not a car crash Per se

As the film seeks to mash a bunch of genres and types together. It tries to be a comedy where you can hear the jokes in the writing but the delivery is stiff and kind of shows the efforts of the actors who are more famous for drama overall really trying. Yet failing 

It also is a kind of International road comedy. That is a kind of Bing Crosby and Bob Hope throwback. That then seems to become a loose espionage film. 

The first 26 minutes could have been cut shorter as they introduce the characters and feels like an indulgence for the film to set up the characters and their dilemmas. That feels more like a character comedy which writer-director Elaine May is more famous for.

After those initial scenes once we make it to Morocco where the film’s actual plot starts. That is when the film feels like at least it has started to move. Even as the film feels longer than it actually is 

As we can see the ideas on Display but they Don’t seem to connect. so that instead of seeing a production this almost comes off as cold reading or rehearsal 

This film could have been a forgettable 80’s comedy. The only problem is that with the big name talent on display it magnifies everything and makes the film more interesting in studying than actually looking for entertainment.

At times It’s painful and at other times it is amusing. As this film seems like it wants to rest on the laurels of Its star’s star power to carry it. As that sometimes works in bad comedies that stay passable on the likeability  of the star 

It might have even been salvageable or understandable if it starred two actors more known for comedy. Though with two stars who are known for perfectionism and trying an out-and-out comedy rather than any drama. Was a recipe for disaster. 

Especially when you have the stars kind of switch roles from the type of roles they usually play with Dustin Hoffman mroe being the ladies man and Warren Beatty the romantic dumb one who is mroe nerdy 

One can only imagine writer/director  Elaine May, more known for long takes, shooting a lot of footage, and putting films together in editing. Directing two actors known for being particular and revising scripts to their expectations and have been known to take over productions to fit their standards overall. Was quite the match 

The film seems like there might have been some Improv at times though also scripted more when it comes to the plot threads. This would also explain why some scenes feel monotonous In Length and dialogue. Like skits, they aren’t working 

It might have been funnier if the characters’ manipulation and distrust of one another we played up more. As we know the characters are dumb and in over their heads already. Though it becomes a buddy comedy that started off in that way 

Even though they distrust one another to a degree eventually it is so fast. That separation is never felt. As usually in buddy comedies, friction between the leads is part of the entertainment and watching them come back together only resonates with the depth of their friendship and loyalty.

This for s across as an example of the excess in the 1980s and how it affected Even those you counted on for quality eventual icons well into their careers to know better and why they might have become even more particular 

It seems like a typical studio comedy where the package was more important than the actual ingredients, story, or material. Not a particularly high concept In plot but talent definitely 

Unfortunately, it is also so far the last film Elaine May directed, and it’s a shame as most of her movies, even this are great in their own way, classics. This one more so for being an example or made an example of whereas the others were excellent quality. So that she showed a master of writing-directing in the comedy A NEW LEAF and drama MICKEY AND NICKY 

As Isabelle Adjabi and Charles Grodin come off more professional And one note. Though Adjani seems like she’d rather be anywhere else. Their roles and playing up what they know or are expected of them. As they come off more as Hollywood in this film and like they belong in the part of the film they are in. Whereas Hoffman and Beatty belong in the movie that is the first act but then become entangled in the rest where they stick out which seems like they were part of the plan. Though the mixture doesn’t work as you might want to see, the first act continued in one movie, and the later film is more plausible with different actors and characters coming Into it 

This just feels like a movie more for film fans or Hollywood and Tinseltown historians rather than the. Maybe a general audience unless fan completists if the main actors. It’s not as horrible. As it has been labeled. Trust me It’s not good, but it is fun in so bad it’s Good. It’s just not that engaging as it constantly feels like a production 

Even if the actors played the right roles it would not save the film but while it looks initially done to be funnier and a stretch for both of them. It ends up coming Off weak and would have fixed one of Its Many problems 

Mismatched as they play songwriters but they can’t sing well their characters nor the actors appear and while some of the songs are catchy in the writing scenes the performance is horrible. That originally there was going to be a soundtrack but that was scraped after the film bombed 

If the Morocco scenes weren’t so heavy and most of the film. The film could have just been a misfire. As if the characters stayed in New York as we marvel at their failures. Through the depth of their friendship. You can Understand what attracts the stars. As this was a bit of a comeback for each of them

Or was supposed to be. As both had been away from the big screen for five years and their previous films before this were considered classics these days 

Like dumb and dumber in the dessert international. Silly and fun and plays stupid but smarter than it comes across. As it is an epic failure that has so many mishandling yet good intentions and ideas. That is more purely comedic but some spoofs and like the decade excessive in many ways 

Then it all ends abruptly though it feels like it goes a long way just to get to the joke that is the ending while clearly showing Its inspiration so just like the Bing Crosby Bob hope films you have two iconic popular stars all heir for drama starring in a road to type comedy an expensive one that is all over the place 

Which makes the film a Hollywood artifact that matches the likes of Brian de Palma’s bonfire of the vanities with the film’s problems in the making, post-production, and marketing. With songs co-written by Paul Williams which might be why I when a weakness for them 

Grade: C

WE’RE ALL GOING TO THE WORLD’S FAIR (2022)

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Written, Directed & Edited By: Jane Schornbrun

Cinematography: Patrick Carbone

Cast: Anna Cobb, Michael J. Rogers, Holly Anne Frink

Alone in her attic bedroom, teenager Casey becomes immersed in an online role-playing horror game, wherein she begins to document the changes that may or may not be happening to her.

The experience of watching this film is like being on The internet and following a person or story randomly at times but more focused. Watching this on an actual computer or laptop one can imagine would only enhance it and make you feel more immersed.

The film uses what you know already to help tell the story. How loneliness feels and an obsession can take over. The desperation in making a connection. Changing your identity to fill A role. 

The film remains creepy throughout. Making the simple so scary and disturbing. Keeping an alienating mood. Yet feeling so personal. 

You keep waiting for something worse to happen. That is the atmosphere of the film. Which is powered by your imagination and fear. In a good way not as a cheap ploy commonly used in subpar PG-13 studio horror films.

Where not only do the trailers offer the sin of giving too much away in the preview but also the feeling it might as well have gone full rated R. So it doesn’t feel so restrained. Not to mention would make the film somewhat memorable if even just for the more naughty parts and probably would have made as much money either way. Which still wouldn’t have been enough but I guess the studios hope teens who are sneaking into other films will buy tickets or who want to see more mature movies but can’t get tickets to a rated R movie settle for Disturbing and intense more mentally even though it is framed as a game. As we are offered clues and details in the background that only a few are acknowledged and come into play. 

It might remind some of the early 2000s indie cinema.  Where once in a while really felt creative and innovative. While seeming more like a more mainstream shell. 

Told through the camera. Not necessarily through complete scenes.

It’s the intention of what we are used to from traditional narratives. It tries to subvert the ordinary and flow. Even watching the videos of one character strangely feel opened to more than just the character 

Though most of the images and material are minimal. Yet the film sets your mind a blaze as to what could happen.

Hard to exactly explain the film other than to say it is more cerebral and for the adventurous. As it is definitely not for everyone 

Grade: A-

A NIGHTMARE ON ELM STREET 5: THE DREAM CHILD (1989)

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Directed By: Stephen Hopkins 
Written By: Leslie Bohem
Story By: John Skipp & Craig Spector 
Based On Characters Created By: Wes Craven
Cinematography: Peter Levy 
Editor: Chuck Weiss & Brent A. Schoenfeld

Cast: Robert Englund, Lisa Wilcox, Kelly Jo Minter, Whit Hertford, Danny Hassel, Erika Anderson, Nick Mele, Joe Seely

The pregnant Alice finds Freddy Krueger striking through the sleeping mind of her unborn child, hoping to be reborn into the real world.

Despite as always some impressive special effects and death sequences. The film still feels rushed. there doesn’t seem to be as much thought out into this sequel. So that it comes off as rather bland and almost just another sequel. 

Though it should feel like an important entry into the franchise. It feels like a clear sign of it dying out, especially of any fresh ideas or originality. 

The film has a good concept but officially moves into the realm of feeling like just another sequel. As it doesn’t have any particular character of itself. It lacks identity and feels undefined so It feels like more of the same. Almost the continuing adventures of. 

The story feels simple yet overly convoluted for no reason. As it delves a little deeper into the origins of Freddy Kruger and the franchise’s own mythology. 

It does show the horror Amanda Kruger went through. Fleshing out Freddy’s back story offers another plot of how he can get himself into the world. Being reborn in another body that feels a bit CHILD’S PLAY inspired.

At this point from an observation perspective, you do have to be amazed that this town still had kids. Not to mention the amount. Do people still hang out with the main character, the final girl of the last film. Though they quickly dispatch the final boy survivor of the last film. Even as his death scene is one of the more impressive special effects-wise.

Though this film seems to have fewer victims. Due to more story, investigation, and plot that come across as filler. That seems to be kind of riding a theme of there being even a young child being involved and being influenced so that there would be a new Freddy Kruger. 

The film unfortunately feels like for the most part it is going through the motions and isn’t as creative as it believes itself to be. Though I am thankful that the film does have a person of color who makes it to the end.

The death count also seems smaller than in previous films. As again the death seems to want to be more set pieces and intricate themselves. More than just random or throwaway 

GRADE: C

A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER (1988)

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Directed By: Renny Harlin
Written By: Brian Helgeland & Scott Pierce 
Story By: William Kotzwinkle
Based On Characters Created By: Wes Craven
Cinematography: Steven Fierberg
Editor: Chuck Weiss, Jack Tucker & Michael N Knue

Cast: Robert Englund, Lisa Wilcox, Tuesday Knight, Brooke Theiss, Toy Newkirk, Duane Davis, Rodney Eastman, Danny Hassel, Ken Sagoes, Nicholas Mele

Freddy Krueger returns once again to terrorize the dreams of the remaining Dream Warriors, as well as those of a young woman who may be able to defeat him for good.

This sequel was inevitable and had eliminated its link to the past by eliminating the known Survivors of the previous films. This film tries to start anew, by in turn eliminating the survivors from the previous film, quickly.

Unfortunately, actress Patricia Arquette doesn’t reprise her role. So it is recast (one can see why she decided not to come back as she wouldn’t have been around too long or maybe it was rewritten when she decided not to return) 

The main character is around long enough to pass on the torch to the new lead or new final girl of the franchise. As soon as all those around her. Particularly those close to her soon find themselves being inventively dispatched. As she slowly learns to control and use her powers.

The films already lose their spontaneity as Freddy never seems to strike at random but instead always goes after only the main character’s inner circle. Which here is explained away as, since the power she has been passed allows her to bring others into her dreams. It sets up more victims for Freddy. Even though it seems like she only really does this twice.

Again this film is kind of a rebirth. We have another new director Renny Harlin directing this film and offers for the time a more stylish and cutting-edge film. That matches the times MTV editing.

The deaths stay inventive and over time it seems that is how you remember each film by the kills which could almost be themed. Here we have a death In which the character is trained in martial arts and fights Freddy using them only Freddy is invisible.

It’s a modern touch for the time period and even though a bit silly. Matches the theme of teenage dreams and how silly they can be as they feed off the unconscious mind of the participant. Onto what Freddy does is indulge and offer a physical and deadly punchline. As well as a pun to end it on 

While the film tries and certainly has energy. As this is only the second of the sequels where Freddy goes from being scarier. Into a more wisecracking villain. Where the whole point of the films is to give the audience the inventive violence they want. Satiate their bloodlust but be inventive with it. 

This film is unfortunately a step down from part 3. Though it does try and manages to have its own identity. As this film comes off a little more sarcastic and seems more special effects-laden. 

Grade: C+