When Platinum Dunes the production house created by Michael Bay Andrew Form and Brad Fuller first came into being it took on the father of modern horror films The Texas Chainsaw Massacre. It's safe to say everyone expected it to be a total failure given who was involved; when it turned out that it actually wasn't too bad of a film fans were justifiably surprised. A few mid-level misfires later Platinum Dunes raised their aim at iconic horror franchises even higher bringing back TCM's director Marcus Nispel to tackle Jason Voorhees. Again people weren't expecting much so it was another pleasant surprise that 2009's Friday the 13th turned out to be a thoroughly entertaining respectful recombination of the cabin-in-the-woods slasher. From there the studio didn't even bother to go back to lesser franchises they notched their crosshairs as high as they could go; Freddy Krueger.
Fast forward twelve months. The main thing anyone will want to know about A Nightmare on Elm Street is whether it is at the very least a worthy remake of the original Wes Craven film about a slain pedophile who resurrects in the dream world to kill teenagers in their sleep. The short answer is a resounding yes. Samuel Bayer's film is the best remake in the Platinum Dunes stable; Jackie Earle Haley is an excellent successor to the original's Robert Englund; and Freddy Krueger isn't just scary again he's the most disturbing he's ever been. The long answer is of course a little more complicated and requires plenty of qualifiers.
Yes A Nightmare on Elm Street is the best remake Platinum Dunes has produced but the reason behind that is also the film's handicap. For the most part Wesley Strick and Eric Heisserer's screenplay hems incredibly close to Craven's original. There comes a point in the film however where staying faithful to the source material becomes a bit too problematic. Mainstream audiences particularly those who didn't grow up with Krueger will be unaffected but horror fans may soon grow bored with the lack of individuality in the scripting department. And then just as the film threatens to overthrow its predecessor by changing (for the better) Krueger's origin story it backs off once again sacrificing innovation for tradition.
It would appear to be a contradiction but that adherence to tradition in turn becomes the remakes' greatest strength. Bayer and company dive even deeper into the Elm Street mythos giving the audience in the process two crucial looks at what Krueger was like before the parents of the molested preschoolers delivered their gas-can brand of mob justice. Haley's astounding amount of talent makes profound use of every second of these brief glimpses into a pre-burn Freddy. Then once the kind soft-spoken kid-loving mask of the pedophile-in-hiding has been literally burned off the true monster underneath emerges. This contrast between the Freddy the kids knew and the Freddy they now know as teens makes for some legitimately bothersome bedroom nightmares toward the film's end.
As for the teens they too are marked improvements this time around. Johnny Depp may have emerged from the '84 classic but he was about it. Rooney Mara Kyle Gallner Thomas Dekker and Katie Cassidy all do an admirable job with the at times thin characterizations they're given. It's a testament to the talent of each of them that they overcome the limitations of the script to warrant some investment in their fight against their dream killer. And as for that dream killer...Haley is the perfect replacement for Englund. His take on the voice may be indistinguishable from his work as Rorschach in Zack Snyder's Watchmen adaptation but considering it fits Haley's commanding presence as Krueger as snugly as the iconic bladed glove whose newly stylized dragging across the pipes in Freddy's dream boiler room sounds skincrawlingly likely a cross between nails on a chalk board and an arc welder that's not too much of a complaint.
A little more worthy of complaint are a few failed attempts to reinact iconic moments from the original most notably Freddy's emergence from the wallpaper above Nancy's bed. It's inexcusable that a special effect in the year 2010 should look worse than the effect from the 1984 film it's imitating but CGI the perpetual enemy of the horror fan once again rears its ugly head. That embarrassing failure aside this film could not look better. Bayer did a tremendous job of altering the reality of the dream world with subtle visual distortions (a lot of straight lines are skewed obtusely outward while the edges of the frame curve oh so slightly inward) when necessary. And the effects work on Krueger's face is appropriately gruesome in all the right spots. One can even forgive the terrible wallpaper CGI scene in exchange for inspired touches like a partial singed cheek that flaps slightly when he exhales or moves too quickly.
While this rebirth of Krueger no doubt boasts a number of glorious kills (the bold opener sets the gore precedent quite nicely) its biggest strength in the fear department is this new far more disturbing structuring of the character as a joyless disgusting psychopath. Craven's original used Krueger's actions mainly as the logistical justification for why he would be killing these teenagers whereas Bayer's handling of the material leverages the origin story beyond just physical torture and into mentally disturbing psychosexual territory. The original franchise gradually acclimated to the idea of Krueger as a sexual threat but this iteration makes no qualms about it. It's not just the burns to Krueger's face that have been updated for realism; his motivations have as well — and that makes this new Nightmare on Elm Street scary as hell.
Watchmen star Jackie Earle Haley is set to star in another comic book adaptation -- he's been lined up to play Green Lantern villain Sinestro.
Haley, who played superhero Rorschach in Watchmen, is hotly tipped to take on the role opposite Ryan Reynolds -- who's already signed up to play the Green Lantern himself.
Former James Bond filmmaker Martin Campbell is also attached to direct the project, which is scheduled to begin shooting in New Orleans in March.
It won't be Haley's first villainous role -- he played Freddie Krueger in the recent Nightmare on Elm Street remake and a pedophile in 2006 movie Little Children.
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Haley, who played superhero Rorschach in the DC adventure, is hotly tipped to take on the role opposite Ryan Reynolds - who's already signed up to play the Green Lantern himself.
Former James Bond filmmaker Martin Campbell is also attached to direct the project, which is scheduled to begin shooting in New Orleans, Louisiana in March (10).
It won't be Haley's first villainous role - he played Freddie Krueger in the recent Nightmare on Elm Street remake and a paedophile in 2006 movie Little Children.
When infamous outlaw Ben Wade (Russell Crowe) gets captured in late 19th century Arizona the plan is to transport him to a train en route to Yuma prison(leaving at 3:10 of course). But in the 1800s bringing someone to justice is as arduous as it sounds especially since horses are the only mode of transportation and their carriages the only place to house a prisoner. Across “town ” rancher Dan Evans (Christian Bale) is struggling mightily to support his wife (Gretchen Mol) and kids (Logan Lerman and Benjamin Petry) following a drought and needs to build a well for his family. So when he receives a nominal financial offer to help transport the notorious felon he jumps at it dutifully and desperately. While on the trail that leads to the train station no amount of physical or verbal threat is too much for Wade to break free of with ease. But when it comes to the law-abiding rancher for whom Wade has a certain respect his escape becomes much more complicated than getting out of handcuffs. 3:10 to Yuma’s pairing of Batman and Cinderella Man is perfect in concept and execution and watching the two stars is more than a sight to behold—it is transfixing like watching any two longtime professionals make something difficult look easy. It’s the first of two such powerhouse pairings for Crowe this fall—he co-stars with Denzel Washington in November’s American Gangster—and if this small sample size is any indication big-name costars bring out the best in him. Crowe evokes the kind of real humanistic villain that could only exist in a Western and by playing Wade with equal parts amiability and evil the Oscar winner turns in what is probably his most purely charismatic performance to date. Bale’s character on the other hand—and per usual—is loath to crack a smile a quality the actor has mastered. The Yoda of dialect Welsh-born Bale also has no difficulty switching over to Ol’ West speak but it’s the way he conveys the rancher’s stoicism and will that makes him even more credible. Among the supporting turns Ben Foster (Alpha Dog) stands out as a cranked-up trigger-happy member of Wade’s gang and stalwart Peter Fonda is perfectly cast as a tough ‘n’ gruff bounty hunter. When director James Mangold turned Johnny Cash’s life story into Walk the Line it was the romantic version of a much darker tale. For 3:10 to Yuma a remake of the beloved 1957 Glenn Ford-starrer Mangold gives the Western the same treatment. In attempting to reel in today’s action-happy audience Mangold waters down the drama and speeds up the pace. Minor tweaks for this modern update equal a bit of a departure from true Western style with the dialogue for example as snappy as one of today’s action comedies. But it’s all in good fun. The Old West looks completely authentic and the unforgettable ending is perhaps made possible by the director’s innocuous first two acts. Even so his efforts and those of the screenwriters (Derek Haas Michael Brandt and Halstead Wells who wrote the original) aren’t enough to perform CPR on the Western—not that it’s fair to rest the fate of entire dying genre in their hands.