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LeftSideCut (3776 KP) rated The Walking Dead - Season 4 in TV
Sep 22, 2019 (Updated Oct 25, 2019)
A season of two halves
Contains spoilers, click to show
Season 4 of The Walking Dead is honestly a mixed bag.
The first half is pretty damn solid, wrapping up the Prison and Governor storyline nicely.
It shows off just how strong the cast is here - the characters we have come to know and love are stronger than ever, and a lot of new faces are welcome. I really liked how we got to know Tyrese more throughout this season.
As the group deals with a deadly flu outbreak within the prison walls, the show does a really good job of making you feel the claustrophobia.
I also really enjoyed the flashback Governor episodes - although these episodes introduced us to Tara - a character who I warmed to slowly later on, but in this season, damn she's annoying (nothing against Alanna Masterson just FYI)
The first half climaxes astonishingly with the episode "Too Far Gone" - possibly the best episode of TWD ever. It's sooooo tense. It's violent. It's upsetting. It's masterful. TWD at it's soaring best (although I don't think I'll ever get over what happened to my beloved Hershel)
Then the back half of the season is where it's loses its footing a bit. The group is scattered after the events of "Too Far Gone" and it really shows how TWD fares much better when everyone is together. It's just becomes a bit....boring, and it struggled to hold my attention.
There are still some great parts though - the sweet relationship between Daryl and Beth, the introduction of Abraham, the BRUTAL scene where Rick defends Carl from a truly disturbing fate in the finale...
And of course "The Grove" - another stellar episode.
Season 4 is the first season that became a little bit filler-infused for me but those stand out episodes elevate it and then some.
The first half is pretty damn solid, wrapping up the Prison and Governor storyline nicely.
It shows off just how strong the cast is here - the characters we have come to know and love are stronger than ever, and a lot of new faces are welcome. I really liked how we got to know Tyrese more throughout this season.
As the group deals with a deadly flu outbreak within the prison walls, the show does a really good job of making you feel the claustrophobia.
I also really enjoyed the flashback Governor episodes - although these episodes introduced us to Tara - a character who I warmed to slowly later on, but in this season, damn she's annoying (nothing against Alanna Masterson just FYI)
The first half climaxes astonishingly with the episode "Too Far Gone" - possibly the best episode of TWD ever. It's sooooo tense. It's violent. It's upsetting. It's masterful. TWD at it's soaring best (although I don't think I'll ever get over what happened to my beloved Hershel)
Then the back half of the season is where it's loses its footing a bit. The group is scattered after the events of "Too Far Gone" and it really shows how TWD fares much better when everyone is together. It's just becomes a bit....boring, and it struggled to hold my attention.
There are still some great parts though - the sweet relationship between Daryl and Beth, the introduction of Abraham, the BRUTAL scene where Rick defends Carl from a truly disturbing fate in the finale...
And of course "The Grove" - another stellar episode.
Season 4 is the first season that became a little bit filler-infused for me but those stand out episodes elevate it and then some.
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crime fiction adult police procedural series murder
Midge (525 KP) rated The Twelve Dice of Christmas in Books
Dec 10, 2018
I adore a new book, and if it’s part of a series, that's great, as it means more books for me to read!
Welcome to Serenity Cove, a peaceful Southern community where the residents like to play dice, and when there is a dark mystery, play detective.
With Christmas fast approaching, Kate McCall and her retired friends get into the holiday spirit by agreeing to help the elderly Eula Mae Snow decorate her home, even when it means sorting through many of the older woman’s belongings. Intent on doing a good deed and uncovering a bright collection of seasonal decorations, Kate is stopped dead in her tracks when instead she discovers the skeleton of a man showing clear signs of foul play.
Many in Serenity Cove thought that Waylon Snow had run off and left town and his wife, Eula Mae, more than two decades earlier. But with the appearance of his skeleton and a whole host of clues pointing to Eula Mae as the murderer, Kate will have to put her sleuthing skills to work to figure out who could have committed the evil deed.
Kate and her retired friends, known as The Bunco Babes, are feeling festive and they are planning a cookie exchange and ugly sweater contest for their last dice game session of the season. As they plan their holidays, they decide to help their friend decorate her house for the annual charity Christmas Home Tour. The Bunco Babes get cracking, and in the process of hunting for the Christmas decorations, Kate discovers the skeleton in the root cellar. Kate now has a twenty-five-year-old mystery to contend with. Can she solve it?
This is my first novel by Gail Oust and I really enjoyed it. I love that it is an old mystery set in Christmastime. Although this is the fourth book in a mystery series, you do not need to have read the previous books in sequence to be able to follow the story properly.
I found many of the characters very funny and easy to relate to, particularly Kate herself, but also Eula Mae's granddaughter, Tammy Lynn and Bill Lewis, Kate's "significant other". Many of the other characters in the book were extremely amusing and unusual. Kate and the Town Sheriff, Sheriff Wiggins have history, Although he is not in Kate's fan club, can she use her powers of persuasion on him to allow the Bunco Babes into the house in time for it to be decorated for the Christmas Home Tour?
You’ll treasure this sweet Christmas mystery, as I did!
Thanks to Netgalley and Beyond the Page Publishing for a copy of this book.
Welcome to Serenity Cove, a peaceful Southern community where the residents like to play dice, and when there is a dark mystery, play detective.
With Christmas fast approaching, Kate McCall and her retired friends get into the holiday spirit by agreeing to help the elderly Eula Mae Snow decorate her home, even when it means sorting through many of the older woman’s belongings. Intent on doing a good deed and uncovering a bright collection of seasonal decorations, Kate is stopped dead in her tracks when instead she discovers the skeleton of a man showing clear signs of foul play.
Many in Serenity Cove thought that Waylon Snow had run off and left town and his wife, Eula Mae, more than two decades earlier. But with the appearance of his skeleton and a whole host of clues pointing to Eula Mae as the murderer, Kate will have to put her sleuthing skills to work to figure out who could have committed the evil deed.
Kate and her retired friends, known as The Bunco Babes, are feeling festive and they are planning a cookie exchange and ugly sweater contest for their last dice game session of the season. As they plan their holidays, they decide to help their friend decorate her house for the annual charity Christmas Home Tour. The Bunco Babes get cracking, and in the process of hunting for the Christmas decorations, Kate discovers the skeleton in the root cellar. Kate now has a twenty-five-year-old mystery to contend with. Can she solve it?
This is my first novel by Gail Oust and I really enjoyed it. I love that it is an old mystery set in Christmastime. Although this is the fourth book in a mystery series, you do not need to have read the previous books in sequence to be able to follow the story properly.
I found many of the characters very funny and easy to relate to, particularly Kate herself, but also Eula Mae's granddaughter, Tammy Lynn and Bill Lewis, Kate's "significant other". Many of the other characters in the book were extremely amusing and unusual. Kate and the Town Sheriff, Sheriff Wiggins have history, Although he is not in Kate's fan club, can she use her powers of persuasion on him to allow the Bunco Babes into the house in time for it to be decorated for the Christmas Home Tour?
You’ll treasure this sweet Christmas mystery, as I did!
Thanks to Netgalley and Beyond the Page Publishing for a copy of this book.
Kirk Bage (1775 KP) rated Black Mirror - Season 4 in TV
Mar 3, 2020
USS Callister - 7.5
A fascinatingly geeky episode, all else aside. Not only are there references to almost every significant sci-fi meme (in the true sociological sense of the word) you can think of, but there are also many links to past and even future Black Mirror episodes. It really is a spot the clever touch piece of the ensemble. Deceptively colourful and lively, this is a dark idea – taking identity theft to the next level and using stolen DNA to replicate and then trap a person in a virtual world where you are god. Jesse Plemons takes on two personas and has never been seen to such effect as in this rare lead role for him. Nominated for 8 Emmys and winning 4, the start to season four in late 2017 was a strong one, and a real indicator that the Universe of Black Mirror is all intrinsically linked. As I say, geek heaven! Points for spotting Kirsten Dunst in an unspoken cameo…
Arkangel - 6
Notable for the first big guest director credit of one Jodie Foster. This one moves from creepy idea to hard to swallow nonsense very quickly. Returning to the idea of brain implants and using the eyes of a person as a recorder than can be manipulated, the idea of aparent using such tech to protect a child is fine on the surface. But when you go deeper, it is impossible to imagine a parent stupid enough not to see the drawbacks and dangers of it, and fantastical to imagine the child not questioning it as they get older. Apart from a memorable moment of violence that works well in the context of the story, this episode largely doesn’t really work.
Crocodile - 7
An almost unrecognisable Andrea Riseborough is the best thing about this bleak thriller type episode, often compared to Scandi-dramas like The Bridge. It starts with a haunting accidental death and cover up scenario, progressing to a breakdown manifested in two very different ways. Once again, the tech on display is a machine not unlike the Voight-Kampf of Blade Runner, which can translate memory into images. The intrigue and tension are great, and when things really kick off, we find ourselves yelling “just stop” at our screens! Trouble is, the final twist undermines it all, by crossing the line of irony and into comedy. Memorable, but not in the top ten for me.
Hang the DJ - 8.5
Now, this one I really like! The unlikely chemistry of Joe Cole and Georgina Campbell, as two guinea pigs using an intense dating app in some vague dystopia, hits the right tone from the start and keeps you gripped. The basic idea being that the app tells you how long a couple can be together, before parting, whether they want to or not. The promise of the system being that in the end there is a 99.8% chance of finding your “perfect” partner. The empathy for the leads is huge by the time it comes to the inevitable conclusion that they must rebel to escape their fate and be together. What happens next: the simplicity, yet detail of the twist is absolute genius! Leaving you with a wry smile and a very strong lasting impression. Artistically, not he strongest; in terms of pure writing, one of the very best.
Metalhead - 7
Perhaps unfairly, this episode, shot in gorgeous black and white, is the lowest rated of all Black Mirror episodes on IMDb. David Slade, the man responsible for films such as Hard Candy and 30 Days of Night directs, and it is apparent this is going to be a minimal mood piece, with standard psychological horror elements. The most obvious comparison is The Terminator, but there is more going on than that. What I like about it is the ambiguity. How we got to this place and where “home” is and who is left there, are all left to our imagination, as we watch Maxine Peake struggle to survive against a machine that will not stop. I think many reject it out of hand because it is too vague and has little in the way of a clever twist. But, as a character study it works fine. Shorter than most, at 41 minutes, perhaps even that is a push, given the simple idea, which does have short film vibes pouring out of it. I can’t say I don’t like it though…
Black Museum - 8
A fitting end to season four was the trick of paying homage to old anthology horror movies of the 70s, where artifacts that link to dark stories are collected in one place and re-told by a perhaps sinister narrator. There are plenty of clever nods to recognisable props and images from earlier episodes, as well as new stuff that may have future significance, that,even more than USS Callister, this episode is basically one big Easter egg. Letitia Wright, best known from her role in Black Panther, to date, shows star quality in a tricky part that basically requires her to listen and wait patiently until the satisfying pay-off. The three linking tales of a doctor who becomes addicted to pain via an empathy implant; a dead mother whose soul is trapped in a childs toy forever; and a murderer condemned to relive his execution over and over for the gratification of paying customers – are all captivating within themselves, and fit into the macabre tongue in cheek vibe well. Thankfully, the climax does make it all gel and make sense, and we leave the season on a high, reflecting our own sense of “justice”.
A fascinatingly geeky episode, all else aside. Not only are there references to almost every significant sci-fi meme (in the true sociological sense of the word) you can think of, but there are also many links to past and even future Black Mirror episodes. It really is a spot the clever touch piece of the ensemble. Deceptively colourful and lively, this is a dark idea – taking identity theft to the next level and using stolen DNA to replicate and then trap a person in a virtual world where you are god. Jesse Plemons takes on two personas and has never been seen to such effect as in this rare lead role for him. Nominated for 8 Emmys and winning 4, the start to season four in late 2017 was a strong one, and a real indicator that the Universe of Black Mirror is all intrinsically linked. As I say, geek heaven! Points for spotting Kirsten Dunst in an unspoken cameo…
Arkangel - 6
Notable for the first big guest director credit of one Jodie Foster. This one moves from creepy idea to hard to swallow nonsense very quickly. Returning to the idea of brain implants and using the eyes of a person as a recorder than can be manipulated, the idea of aparent using such tech to protect a child is fine on the surface. But when you go deeper, it is impossible to imagine a parent stupid enough not to see the drawbacks and dangers of it, and fantastical to imagine the child not questioning it as they get older. Apart from a memorable moment of violence that works well in the context of the story, this episode largely doesn’t really work.
Crocodile - 7
An almost unrecognisable Andrea Riseborough is the best thing about this bleak thriller type episode, often compared to Scandi-dramas like The Bridge. It starts with a haunting accidental death and cover up scenario, progressing to a breakdown manifested in two very different ways. Once again, the tech on display is a machine not unlike the Voight-Kampf of Blade Runner, which can translate memory into images. The intrigue and tension are great, and when things really kick off, we find ourselves yelling “just stop” at our screens! Trouble is, the final twist undermines it all, by crossing the line of irony and into comedy. Memorable, but not in the top ten for me.
Hang the DJ - 8.5
Now, this one I really like! The unlikely chemistry of Joe Cole and Georgina Campbell, as two guinea pigs using an intense dating app in some vague dystopia, hits the right tone from the start and keeps you gripped. The basic idea being that the app tells you how long a couple can be together, before parting, whether they want to or not. The promise of the system being that in the end there is a 99.8% chance of finding your “perfect” partner. The empathy for the leads is huge by the time it comes to the inevitable conclusion that they must rebel to escape their fate and be together. What happens next: the simplicity, yet detail of the twist is absolute genius! Leaving you with a wry smile and a very strong lasting impression. Artistically, not he strongest; in terms of pure writing, one of the very best.
Metalhead - 7
Perhaps unfairly, this episode, shot in gorgeous black and white, is the lowest rated of all Black Mirror episodes on IMDb. David Slade, the man responsible for films such as Hard Candy and 30 Days of Night directs, and it is apparent this is going to be a minimal mood piece, with standard psychological horror elements. The most obvious comparison is The Terminator, but there is more going on than that. What I like about it is the ambiguity. How we got to this place and where “home” is and who is left there, are all left to our imagination, as we watch Maxine Peake struggle to survive against a machine that will not stop. I think many reject it out of hand because it is too vague and has little in the way of a clever twist. But, as a character study it works fine. Shorter than most, at 41 minutes, perhaps even that is a push, given the simple idea, which does have short film vibes pouring out of it. I can’t say I don’t like it though…
Black Museum - 8
A fitting end to season four was the trick of paying homage to old anthology horror movies of the 70s, where artifacts that link to dark stories are collected in one place and re-told by a perhaps sinister narrator. There are plenty of clever nods to recognisable props and images from earlier episodes, as well as new stuff that may have future significance, that,even more than USS Callister, this episode is basically one big Easter egg. Letitia Wright, best known from her role in Black Panther, to date, shows star quality in a tricky part that basically requires her to listen and wait patiently until the satisfying pay-off. The three linking tales of a doctor who becomes addicted to pain via an empathy implant; a dead mother whose soul is trapped in a childs toy forever; and a murderer condemned to relive his execution over and over for the gratification of paying customers – are all captivating within themselves, and fit into the macabre tongue in cheek vibe well. Thankfully, the climax does make it all gel and make sense, and we leave the season on a high, reflecting our own sense of “justice”.
Haley Mathiot (9 KP) rated Shatter Me in Books
Apr 27, 2018
Shatter Me is one of those books that will stick with me forever. I may even re-read it just because I enjoyed it so much! I mean, I never re-read books! But I may very well re-read this one! It's one that I can pick up the next one after not having read it for a year, and I can jump right back in because I remember it all. I can't wait until the next book comes out! Oh my gosh! Why on earth did I wait so long to read it? Oh yeah. College.
The writing was magnificent (man has it been a long time since I've been able to say that). It was interesting, and different, and felt like a free flowing train of thought instead of conscious sentences or pages from a diary. It was beautiful and poetic, and full of metaphors about nature and beauty and pain that were so honest and true that I couldn't figure out why I hadn't thought them up myself first. Sometimes there would be a phrase that Juliette thought to herself that was true but she refused to admit to thinking, and it would be crossed out. (like that ^). I really liked this, because it showed what she was really thinking, but it also showed what kind of person she wanted to be.
The plot was fantastic. It never stopped moving forward. There were brief times of rest in the thriller aspect of the story, but the tension itself never went away, and there were no dead plot fillers thrown in.
I really liked Juliette. She wants to be strong, but after a long life of being emotionally abused, she's a weak broken pitiful creature who just wants to be loved and nurtured back to health. She will do anything to be on good terms with someone she loves. She's dying to be touched, but she knows she can't be because she'll kill whoever touches her. And she doesn't want to hurt anyone. She wants to help people and comfort them, but she knows she'll kill them. What a horrible place to be in!
I won't say too much about her love interest, Adam, but I will say he is so going on my list of favorite literary crushes. He is hott stuff. And because of that, I'm going to put my recommendation as ages 16+. If you can't read Hush Hush or Hourglass, I'd hold off on this one for a while…
Content/recommendation: Some hot kissing scenes, and I'm seeing a potential for more in the later books. Ages 16+
The writing was magnificent (man has it been a long time since I've been able to say that). It was interesting, and different, and felt like a free flowing train of thought instead of conscious sentences or pages from a diary. It was beautiful and poetic, and full of metaphors about nature and beauty and pain that were so honest and true that I couldn't figure out why I hadn't thought them up myself first. Sometimes there would be a phrase that Juliette thought to herself that was true but she refused to admit to thinking, and it would be crossed out. (like that ^). I really liked this, because it showed what she was really thinking, but it also showed what kind of person she wanted to be.
The plot was fantastic. It never stopped moving forward. There were brief times of rest in the thriller aspect of the story, but the tension itself never went away, and there were no dead plot fillers thrown in.
I really liked Juliette. She wants to be strong, but after a long life of being emotionally abused, she's a weak broken pitiful creature who just wants to be loved and nurtured back to health. She will do anything to be on good terms with someone she loves. She's dying to be touched, but she knows she can't be because she'll kill whoever touches her. And she doesn't want to hurt anyone. She wants to help people and comfort them, but she knows she'll kill them. What a horrible place to be in!
I won't say too much about her love interest, Adam, but I will say he is so going on my list of favorite literary crushes. He is hott stuff. And because of that, I'm going to put my recommendation as ages 16+. If you can't read Hush Hush or Hourglass, I'd hold off on this one for a while…
Content/recommendation: Some hot kissing scenes, and I'm seeing a potential for more in the later books. Ages 16+
Neon's Nerd Nexus (360 KP) rated It: Chapter Two (2019) in Movies
Sep 6, 2019 (Updated Sep 6, 2019)
I am the eater of worlds, and of children.
IT Chapter2 feels like a ride you've been sat on all day, immense fun but a tad repetitive & a little tiresome after awhile. Now I can't remember the book much to be honest so im going by the films here alone & I personally think its all one giant metaphor for child suicide with the clown just being one big easy to relate to combined metaphor for fear, grief, guilt, betrayal, depression, negativity, loneliness, abuse, anxiety, torment, worry, instability & stress of growing up in a town thats had a lot of tragic events happen in it & in a world where things such as bullying, paedophilia, murder, arson, death, accidents, incest, mental illness, fear mongering, love and having no friends can also be against you and playing on your mind. Watching it in this way is where the real terror lies & everything had a logical explanation to it too (especially watching both films back to back) making these films that much more powerful, relatable, meaningful & heartwarming. Watching these kids/adults unite together to battle everything life throws at them to conquer & overcome the darkness while still trying to have fun and enjoy youth at the same time is so empowering and uplifting its just a shame this new film retreads to much old ground feeling a tad to repetitious of what we've seen before already. That being said the character drama is great & theres clear love here for the source material/films from the past that have since become cult classic. A genuine nostalgia vibe is present here too with the film feeling very lost boys meets the goonies & theres even elements of evil dead & john carpenters the thing too. Acting is fantastic with a near flawless adult cast & special effects for the most part are creative, creepy, disgusting & good looking with a few seemingly rushed bits here & there. Its a good film dont get me wrong it just feels like it needs a trim as the lulls at times can make your mind float off elsewhere (especially during some side plots). Overall IT 2 has great depth, fun horror elements & well developed characters its just a shame the comedy & repetitive structure spoil it.
Matthew Krueger (10051 KP) rated A Nightmare on Elm Street (1984) in Movies
Jul 3, 2020
Introduce a horror icon (3 more)
Robert Englund
Freddy
Wes Craven
Whatever you do, don’t fall asleep!
Contains spoilers, click to show
A Nightmare on Elm Street- is one of my all time favorite horror films. Its also one of the greatest horror movies of all time. That being said, the ending sucks and i will get to that, but first lets talk more about the film.
I just love the idea of someone who appears in your dreams. Someone who stalks you, someone who messes with you, someone who kills you in your dreams. Now Wes got the idea from several newspaper articles printed in the Los Angeles Times in the 1970s about Southeast Asian refugees, who, after fleeing to the United States because of war and genocide in Laos, Cambodia, and Vietnam, suffered disturbing nightmares and refused to sleep. Some of the men died in their sleep soon after and some of his own childhood nightmares.
The idea of Freddy was Craven's early life. One night, a young Craven saw an elderly man walking on the sidepath outside the window of his home. The man stopped to glance at a startled Craven and walked off. Now Initially, Fred Krueger was intended to be a child molester, but Craven eventually characterized him as a child murderer to avoid being accused of exploiting a spate of highly publicized child molestation cases that occurred in California around the time of production of the film. This idea happened in the 2010 remake.
Lets talk about the plot: In Wes Craven's classic slasher film, several Midwestern teenagers fall prey to Freddy Krueger (Robert Englund), a disfigured midnight mangler who preys on the teenagers in their dreams -- which, in turn, kills them in reality. After investigating the phenomenon, Nancy (Heather Langenkamp) begins to suspect that a dark secret kept by her and her friends' parents may be the key to unraveling the mystery, but can Nancy and her boyfriend Glen (Johnny Depp) solve the puzzle before it's too late?
The plot/story is excellent, the mystery surrounded of Krueger. Who he exactly is, why is he do this, what made him do this, how do the parnets know about Krueger? All of these questions and more your trying to figure out and the movie does a excellent job explaining them.
The deaths: the death scenes are excellent. Tina revolving around her room, Rod's bed sheets wrapping around him while he is in a prison cell and dies hanging and Glen getting pulled through his bed and then his blood gushes to the ceiling. Excellent deaths and memorable.
The Ending: Craven originally planned for the film to have a more evocative ending: Nancy kills Krueger by ceasing to believe in him, then awakens to discover that everything that happened in the film was an elongated nightmare. However, New Line leader Robert Shaye demanded a twist ending, in which Krueger disappears and all seems to have been a dream, only for the audience to discover that it was a dream-within-a-dream-within-a-dream.
According to Craven, "The original ending of the script has Nancy come out the door. It's an unusually cloudy and foggy day. A car pulls up with her dead friends in it. She's startled. She goes out and gets in the car wondering what the hell is going on, and they drive off into the fog, with the mother left standing on the doorstep and that's it. It was very brief, and suggestive that maybe life is sort of dream-like too. Shaye wanted Freddy Krueger to be driving the car, and have the kids screaming. It all became very negative. I felt a philosophical tension to my ending. Shaye said, "That's so 60s, it's stupid." I refused to have Freddy in the driver's seat, and we thought up about five different endings. The one we used, with Freddy pulling the mother through the doorway amused us all so much, we couldn't not use it."
Heather Langenkamp states that "there always was this sense that Freddy was the car", while according to Sara Risher, "it was always Wes' idea to pan to the little girls' jumping rope". Both a happy ending and a twist ending were filmed, but the final film used the twist ending. As a result, Craven who never wanted the film to be an ongoing franchise, did not work on the first sequel, Freddy's Revenge (1985).
Also Nancy's mom getting pulles through the window door was wierd and you can tell it was a blow up doll.
The Music: The lyrics for Freddy's theme song, sung by the jumprope children throughout the series and based on One, Two, Buckle My Shoe, was already written and included in the script when Bernstein started writing the soundtrack, while the melody for it was not set by Bernstein, but by Heather Langenkamp's boyfriend and soon-to-be husband at the time, Alan Pasqua, who was a musician himself. One of the three girls who recorded the vocal part of the theme was Robert Shaye's then 14-year-old daughter. Per the script, the lyrics are as follow: One two, Freddie's coming for you.Three four, better lock your door. Five six, grab your crucifix. Seven eight, gonna stay up late. Nine ten, never sleep again.
End Thoughts: A Nightmare on Elm Street is a excellent horror movie, it introduces a horror icon, has great charcters, has great death scenes and above all is perfect. Thank you Wes for giving us this movie.
I just love the idea of someone who appears in your dreams. Someone who stalks you, someone who messes with you, someone who kills you in your dreams. Now Wes got the idea from several newspaper articles printed in the Los Angeles Times in the 1970s about Southeast Asian refugees, who, after fleeing to the United States because of war and genocide in Laos, Cambodia, and Vietnam, suffered disturbing nightmares and refused to sleep. Some of the men died in their sleep soon after and some of his own childhood nightmares.
The idea of Freddy was Craven's early life. One night, a young Craven saw an elderly man walking on the sidepath outside the window of his home. The man stopped to glance at a startled Craven and walked off. Now Initially, Fred Krueger was intended to be a child molester, but Craven eventually characterized him as a child murderer to avoid being accused of exploiting a spate of highly publicized child molestation cases that occurred in California around the time of production of the film. This idea happened in the 2010 remake.
Lets talk about the plot: In Wes Craven's classic slasher film, several Midwestern teenagers fall prey to Freddy Krueger (Robert Englund), a disfigured midnight mangler who preys on the teenagers in their dreams -- which, in turn, kills them in reality. After investigating the phenomenon, Nancy (Heather Langenkamp) begins to suspect that a dark secret kept by her and her friends' parents may be the key to unraveling the mystery, but can Nancy and her boyfriend Glen (Johnny Depp) solve the puzzle before it's too late?
The plot/story is excellent, the mystery surrounded of Krueger. Who he exactly is, why is he do this, what made him do this, how do the parnets know about Krueger? All of these questions and more your trying to figure out and the movie does a excellent job explaining them.
The deaths: the death scenes are excellent. Tina revolving around her room, Rod's bed sheets wrapping around him while he is in a prison cell and dies hanging and Glen getting pulled through his bed and then his blood gushes to the ceiling. Excellent deaths and memorable.
The Ending: Craven originally planned for the film to have a more evocative ending: Nancy kills Krueger by ceasing to believe in him, then awakens to discover that everything that happened in the film was an elongated nightmare. However, New Line leader Robert Shaye demanded a twist ending, in which Krueger disappears and all seems to have been a dream, only for the audience to discover that it was a dream-within-a-dream-within-a-dream.
According to Craven, "The original ending of the script has Nancy come out the door. It's an unusually cloudy and foggy day. A car pulls up with her dead friends in it. She's startled. She goes out and gets in the car wondering what the hell is going on, and they drive off into the fog, with the mother left standing on the doorstep and that's it. It was very brief, and suggestive that maybe life is sort of dream-like too. Shaye wanted Freddy Krueger to be driving the car, and have the kids screaming. It all became very negative. I felt a philosophical tension to my ending. Shaye said, "That's so 60s, it's stupid." I refused to have Freddy in the driver's seat, and we thought up about five different endings. The one we used, with Freddy pulling the mother through the doorway amused us all so much, we couldn't not use it."
Heather Langenkamp states that "there always was this sense that Freddy was the car", while according to Sara Risher, "it was always Wes' idea to pan to the little girls' jumping rope". Both a happy ending and a twist ending were filmed, but the final film used the twist ending. As a result, Craven who never wanted the film to be an ongoing franchise, did not work on the first sequel, Freddy's Revenge (1985).
Also Nancy's mom getting pulles through the window door was wierd and you can tell it was a blow up doll.
The Music: The lyrics for Freddy's theme song, sung by the jumprope children throughout the series and based on One, Two, Buckle My Shoe, was already written and included in the script when Bernstein started writing the soundtrack, while the melody for it was not set by Bernstein, but by Heather Langenkamp's boyfriend and soon-to-be husband at the time, Alan Pasqua, who was a musician himself. One of the three girls who recorded the vocal part of the theme was Robert Shaye's then 14-year-old daughter. Per the script, the lyrics are as follow: One two, Freddie's coming for you.Three four, better lock your door. Five six, grab your crucifix. Seven eight, gonna stay up late. Nine ten, never sleep again.
End Thoughts: A Nightmare on Elm Street is a excellent horror movie, it introduces a horror icon, has great charcters, has great death scenes and above all is perfect. Thank you Wes for giving us this movie.
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