A pathetic shell of a man shy milquetoast Willard Stiles (Crispin Glover) leads a lonely life caring for his dying mother in their dirty and decrepit old mansion where his late father's portrait (of Bruce Davison Willard in the 1971 original) hangs in gloomy watch over his urn of ashes no lights are ever on and rats are overrunning the basement. He's got a miserable desk job working for the cruel man who took over Willard's family business and who gives him nothing but grief day in and day out. When his mother orders Willard (whom she calls "Clark" as she hates his given name) to kill the rats breeding downstairs he not only can't bring himself to do it he goes so far as to make pets of them. Socrates gets favored-rat status inspiring resentment in Ben a huge black rat that Willard requently and unceremoniously throws into the basement by its thick tail. But befriending them doesn't end there; when Willard discovers that he can psychically command his new--and quickly multiplying--friends to do things like "tear it up " he employs this four-legged army to exact revenge upon his enemies. Willard's control is short-lived however and when jealous Ben takes charge of the rat pack nothing can stop the roiling hordes from "tearing up" whatever--and whoever--they want.
Crispin Glover (The River's Edge Back to the Future) was born to play seething manic Willard. Sadly Glover is one of Hollywood's most underrated actors no doubt because he chooses off-putting movies and characters like these that are devastatingly funny pitiable and abhorrent all at once. Here he delivers an ace performance as a troubled young man who gradually slips down the slope of madness into utter dementia. Ultimately Willard is as awful as anyone else yet the gut-wrenching emotional roller-coaster ride Glover takes us on creates a weird empathy for this antihero as his snarling features twist from doubt to anger to fear to sadness in the blink of an eye. R. Lee Ermey is a monster as Willard's boss Frank Martin; Jackie Burroughs as Willard's ghastly revolting mother is given some of the movie's funniest lines; and Socrates and Ben (rat? CGI? Chinchilla?) bring it home.
Written and directed by Glen Morgan (screenwriter Final Destination X-Files) Willard is a fascinating character study made even more so by its subtext of betrayal. The term "rat" can be used to describe one who betrays and everyone in this movie is a "rat " so to speak: Willard's family is betrayed; Willard's parents betray him; Willard betrays his animal friends; Willard is betrayed. The only non-"rats" are in fact the furred-and-whiskered ones who repulsive as they may be are loyal until given reason not to be. The production values and editing are outstanding the script is tight some of the lines are laugh-out-loud funny and the blacker-than-black humor will appeal to the sort of people who won't mind watching a kitty cat meet its demise to Michael Jackson's schmaltzy "Ben." That said animal lovers beware: Even though you know it's not real Willard contains some horrifying scenes. Still despite the vile turns the movie takes you have to hand it to Morgan who is unafraid nay eager to go there. You on the other hand may not be so willing.
About 10 years ago the residents of Springwood ended Freddy Krueger's legendary reign of terror by drugging the town's teens to prevent them from dreaming and locking away the ones who wouldn't forget the master of nightmares. But as Freddy points out "being forgotten was a bitch." In order to emerge from his purgatory Freddy needs to instill fear back on the 1400 block of Elm Street--and he thinks he has found his ticket with the hockey-mask-wearing serial killer Jason Voorhees. Taking the form of Jason's dead mother Freddy invades Jason's dreams and instructs him to leave Crystal Lake and head to Elm Street to do some slaughtering. The plan actually works and as the town becomes fearful once more Freddy is able to prey on their vulnerability. But whom will Freddy torment if Jason slashes all the teens in town? As advertised by the studio the two '80s horror icons eventually engage in the ultimate showdown. Moviegoers however will have to check out the movie to find out who wins the face-off but the question is is it worth it? If you are not a fan of either franchise be prepared to sit through a shoddy story that is missing the tension and buildup so prevalent in Wes Craven's original 1984 thriller A Nightmare on Elm Street. If you are devotee the melding of Freddy and Jason on the big screen is a pretty delicious treat but the battle's outcome may ultimately frustrate fans.
Almost 20 years ago Robert Englund gained cult status as Freddy Krueger--a horror icon as recognizable as Boris Karloff's Frankenstein. Now Englund's name has become so synonymous with this character that replacing him would be catastrophic--and with good reason; this character actor is cause enough to go see the Freddy vs. Jason. This is Englund's eighth time going under the putty knife and he appears to still be having a blast playing Freddy. Although the character's physical appearance hasn't changed a bit (he still wears that skanky striped sweater and his razor fingers are still charmingly low-tech) but his quips are more sarcastic than ever. "What's the matter Lori " the dream-crasher taunts his victim. "Miss your wake-up call?" Former stunt performer Ken Kirzinger portrays Freddy's challenger Friday the 13th's Jason Vorhees. Different actors portrayed the character in 6 of the 10 installments of the Friday series; the last four sequels starred Kane Hodder. But since Jason sports a hockey mask and doesn't talk he doesn't have many personality traits to note--unless you count his slashing technique. So while Kirzinger is a convincing enough Jason it's safe to assume this stunt man was probably hired more for his ability to crash through glass and go up like a human torch rather for any likeness to Jason.
Director Ronny Yu who helmed the psycho doll thriller Bride of Chucky in 1998 is no stranger to the horror genre. Freddy vs. Jason is well done especially Yu's subtle transitions from the characters' realities to dreamland. This is where the director manages to inject a bit of tension into the film by playing mind games with the audience: When a character heads towards imminent danger the audience is never sure if they have fallen asleep and are dreaming or if what is happening is real--until a visual clue pops up like a bleating goat appearing where it clearly doesn't belong. Yu does this with a sense of humor and a bit of '80s nostalgia which is sure to please connoisseurs of the franchise. But the problem with Freddy vs. Jason is that it is so busy not taking itself too seriously that it fails to instill fear. Screenwriters Damian Shanning and Mark Swift had the thorny task of blending Freddy's supernatural and somewhat intellectually superior storylines with Jason's thuggish slasher plots and the result is story that leans more towards the brutish. The buildup and tension that made Nightmare on Elm Street so eccentrically frightening is gone and Freddy is brought down to Jason's level forced to fight physically rather than use his manipulative mind power. Watching the two malevolent entities hacking away at each other Freddy and Jason have almost been reduced to standing jokes.
After catching her live-in boyfriend in a compromising position Amanda sets out to find a new place to live. She ends up rooming with four supermodels (Shalom Harlow Ivana Milicevic Sarah O'Hare and Tomiko Fraser) whose apartment has a great view -- especially of Jim the "perfect guy" across the way. When Amanda in a "Rear Window"- type scenario witnesses Jim committing what she thinks is a murder she sets out to prove that he did it. However to her surprise she ends up falling head over heels (literally a lot of the time) for him instead.
The chemistry between Prinze and Potter is near perfect. Potter does a great job of playing a klutzy girl who can't seem to stay on her feet long enough to have a conversation with Jim. But then again who could? Prinze exudes his usual charm and winning smile while at the same time showing great comic timing. The more pivotal moments with the four models who are "struggling " as they like to say are well done and surprisingly hysterical. Who needs a drama when you can have four models who are actually funny?
Director Mark S. Waters and Prinze Jr. are together again after their 1997 film "The House of Yes." "Head Over Heels" is a cross between "Fatal Attraction " "An Officer and a Gentleman" and "There's Something About Mary " which means it's a bit muddled in its direction. Waters tries a little too hard for the shock value while at the same time trying to convey romantic comedy elements almost overshadowing the performances of the actors. But hey then again we get to see supermodels covered in poop. Priceless. Still the fairly clever and darker script plus the winning chemistry between the lead actors makes it worthwhile.