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Late to the Party: Wes Craven’s ‘New Nightmare’ (1994)

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Late to the Party

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Via Mondo Tees

“Miss me?”

I’m glad I waited this long to finally watch Wes Craven’s New Nightmare. Listening to movie podcasts (specifically those that focus on horror) for the last few years has helped me approach cinema with an analytical edge that I never had before.

I wouldn’t have been able to comprehend a meta-horror film such as this or others, like the Scream franchise (also directed by Craven) or The Cabin in the Woods by Drew Goddard properly.

I had to watch this movie four times within the last month just to be able to process the heavy material.

At least with Scream and others, the characters are aware of horror films as well as the rules or cliches that define them. But, they’re unaware of the fact that their reality is governed by these rules (except for Randy) or that these rules can be twisted and even broken.

In New Nightmare, the characters are the actors (playing themselves) so not only do they have access to the horror genre and the rules–but the rules and the tropes that are unique or specific for their own franchise (A Nightmare on Elm Street) in a world that is basically our own, albeit a little more movie manufactured.

This knowledge grants the characters potential foresight, while in turn dismantling whatever conventions or expectations the audience may have.

It’s essentially Inception, a movie–within a movie

That being said, Scream is arguably the quintessential meta-horror series in cinematic history.

A series that not only: revamped the slasher genre for a new generation and for many generations to come–bringing the sub-genre out of obscurity and into the mainstream (much like Halloween did in 1978), and unwittingly created a horror movement that would carry through the 90’s and well into the millennium.

Strangely enough, New Nightmare predates Scream by two years, but no one ever talks about it or the radical ambition behind this unique feature and the monumental impact it had on the genre.

It stands alone in terms of its concepts and execution. Craven essentially treated this feature as a blank canvas for this experimentation in film making, witnessing firsthand what works and what doesn’t in terms of metafiction.

As a result, by the time Scream came along, Craven and Kevin Williamson were able to nearly perfect the idea.

Neither of these films are the first to go meta–that title probably belongs to Peeping Tom, which is also the first slasher I believe (it’s debatable).

But, without them we wouldn’t have any of the self-aware brilliance that has come along since they first terrorized our feeble minds on the big screen.

Image result for a nightmare on elm street bathtub

Via Metro

The Story for Wes Craven’s New Nightmare

“Reality and fantasy meet in unsettling ways in this installment of the long-running horror series, which finds director Wes Craven and actors Heather Langenkamp and Robert Englund all portraying themselves. As Heather (Heather Langenkamp) considers making another film with Craven, her son, Dylan (Miko Hughes), falls under the spell of the iconic disfigured villain Freddy Krueger (Robert Englund). Eventually, Langenkamp must confront Freddy’s demonic spirit to save the soul of Dylan.”

The Review

New Nightmare is a great film and truly unique, but it’s not perfect by any stretch. Craven appeared to write himself into a corner with his extensive and ambitious concepts.

I had a difficult time discerning Freddy’s abilities in the real world. He could obviously effect his victims in the same way in which he did in previous films (if you die in your dreams, you die for real).

He could also appear when the characters were awake, like in the scene where he comes out of Heather’s closet (an awesome sequence) and slashes her arm.

But he retreats when an earthquake begins to shake the house–this earthquake however, turns out to be isolated to Heather’s house. Where did he go? Does Freddy have limited amount of time while in the real world? It’s safe to assume that he wasn’t frightened by the quake.

Shortly after that scene, her son Dylan is given a shot from a nurse to “help” him sleep. Despite his babysitter Julie’s best efforts to keep him awake, he dozes off for a second and Freddy is able to manifest and brutally murder her.

But, nobody can see him, as if all of this is taking place within a dream (a dream that Julie would have to be in) for this to make sense.

Following Julie’s death, Heather claims that Dylan sleepwalks and can easily leave the hospital on his own accord. Does this mean that as long as he (or any of them) are asleep, Freddy can treat the entire world as his playground with unlimited power?

As brilliant and mind bending as these scenes are, they leave much to be desired in terms of explanation and reason.

Image result for new nightmare

Via Screen Slate

Elm Street Continuity

This is something that I have noticed throughout the Nightmare franchise: directors or screenwriters have a difficult time keeping up with continuity and establishing concrete rules for the dreamworld as well as “reality” and the complex relationship between the two.

I believe the logistics get tossed aside in favor of keeping profound or groundbreaking scenes and effects, or they just simply get lost in the shuffle.

It’s a bit of a catch-22. If hard science was applied, we may not have these iconic scenes from the franchise: Tina getting dragged up the wall and gutted, Freddy’s glove breaking the bathtub water, etc., but they lose a bit of credibility and points with critics due to their lack of continuity or coherence.

To be fair to critics, the glove should have vanished instantly when Nancy woke up instead of retreating below the depths from whence it came.

Related image

Via Filmgrab

Noteworthy Moments

I greatly appreciated Craven’s thought to include a scene with Robert Englund in Freddy’s classic makeup and attire, so that when the real Freddy shows up we can visually discern the major differences between the two different iterations.

The new and improved Freddy is bulkier, with clean and sleek clothing–including a black trench coat, black military boots, and leather pants.

His makeup is significantly different, resembling an anatomy dummy of a human’s muscular structure, his glove has become a part of him and includes a fifth bladed appendage.

I adore his new look, he is very intimidating. Its a shame that the rest of the franchise doesn’t include this variant–maybe in a future remake, reboot, re-imagining or what have you.

Related image

Via Stillcrew

The cameos were a nice touch: Bob Shaye, Wes Craven, Lin Shaye, Robert Englund. They helped ground the audience into the reality.

But they were undermined or undercut by some pretty poor performances and some super cheesy and on-the-nose dialogue.

The ending setting was brilliant, Heather accepts that she is going to play Nancy one last time (the new nightmare film) Freddy’s dream lair was like hell.

A bleak and smoldering cathedral of nihilism, very aesthetically pleasing.

Although I did appreciate the setting, the way that Freddy “dies” is super confusing and I think pretty lazy.

One of the recurring rules throughout this franchise is that Freddy cannot be harmed while in the dreamworld, but in New Nightmare, he gets stabbed and carries a limp, and burns to death (again) in his own world. It just seemed rushed, and pretty unsatisfying.

Image result for new nightmare

Via Horror Geek Life

This movie is definitely worth the watch. It’s criminally underrated as an Elm Street film, a horror film, and as metafiction.

It used to be on Netflix for the longest time, but now you may have to rent it at places like Amazon for three bucks–it’s worth the cost.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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