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.
In those rare incidences a sequel can actually be better than the original. Such is the case with X2: X-Men United where this time around the X-Men--including mind-benders Prof. Charles Xavier (Patrick Stewart) and Jean Grey (Famke Janssen); optically enhanced Scott/Cyclops (James Marsden); weather controller Storm (Halle Berry); Rogue (Anna Paquin) aptly named newcomers Bobby/Iceman (Shawn Ashmore) and John/Pyro (Aaron Stanford); and last but not least the hunky yet steely Logan/Wolverine (Hugh Jackman)--have their work cut out for them trying to keep the peace between the human and mutant races. After a teleporting mutant assailant known as Nightcrawler (Alan Cumming) attacks the White House relations between mutants and humans take a turn for the worse starting an anti-mutant movement. The movement is fueled by baddie scientist William Stryker (Brian Cox) who bears a grudge against mutants and his henchwoman Lady Deathstrike (Kelly Hu) both of whom have a mysterious connection to Wolverine's past. They seek to wipe out all the mutants on Earth by manipulating Xavier and his all-powerful machine Cerebro--a machine that can locate and even destroy every mutant and/or human on the planet in mere moments using mind power. Stryker is in for a fight though. Militant mutants the iron-clad Magneto (Ian McKellen) and morph-happy Mystique (Rebecca Romijn-Stamos) join forces with the X-Men to stop this madman--but of course they have their own agendas. Can the X-Men repair the rift in mutant/human co-existence? Or is war imminent? Guess we'll have to wait until X3.
X2 does a nice job giving its comic book heroes and villains more of an emotional core than in the first X-Men. The relationships have deepened and are further explored with Jackman's haunted Logan/Wolverine looking for clues to his past still a standout. Janssen another standout gets more to chew on as Jean whose triangle with Logan and Scott grows more complicated and her character arc takes a surprising turn. But will somebody please write Halle Berry out of this franchise? They say her blonde wig was improved for the sequel but it's as unbelievable as her acting. As for the kids Paquin and Ashmore sweetly play out Rogue and Bobby's budding love story but its Stanford's sullen John who holds the most interest as you see his resentment toward humans growing and luring him to the dark side. In the villains' corner Cox plays Stryker as stonily evil as he can while Romijn-Stamos seems to have a lot more fun as the ultra-cool Mystique even getting to shed the blue paint in one scene and simply use her feminine wiles to get what she wants. Cumming too seems to enjoy being blue as the bible quoting German-accented Nightcrawler who really isn't so bad after all (and has one of the snazzier entrances in the movie). But the most compelling relationship by far has to be between Xavier and Magneto. British thesps Stewart and McKellen portray the two as the old friends they are but whose disparaging views on how mutants and humans should interact has torn them apart giving the film some dramatic weight.
With the original X-Men director Bryan Singer had the dubious task of introducing all of the Marvel comic book's attributes and characters in a way that would appease rabid fans and newbies while also creating a compelling movie with a beginning middle and end. The result was adequate but a tad muddled and cartoonish. With X2 however Singer is able to fine-tune those characters and delve further into the story's universal theme: ridding the world of xenophobia and creating a peaceful co-existence. The three-tiered points of view--from Magneto's defiantly anti-human stance to Stryker's anti-mutant attempts at genocide and Xavier's hopes to find a happy middle ground--parallels today's political climate and actually makes you ponder the world's affairs even while you are watching the very cool very mutant-esque action. X2 leaves you wanting more to find out what is going to happen next to these people. Honestly if there is a war between mutants and humans who do you think is going to win? If only I could use powers of telepathy…
Cambridge-educated Tony Wilson is a young but established TV journalist in Manchester who is fed up with his silly assignments be they hang-gliding adventures or an interview with a midget who cares for elephants. When one evening he catches an unknown band called the Sex Pistols at a poorly attended show he becomes a believer in what is the new and rebellious punk movement. Taking a chance he opens a club to give new punk bands exposure becoming a major promoter of the punk movement. But hardly the exemplary capitalist he's motivated by gut feelings and passion and his belief in Manchester as the epicenter of new music. Wilson does discover several bands that go on to varying degrees of success and notoriety including Joy Division/New Order and the Happy Mondays but punk values and the lifestyle take their toll. There are the premature deaths marital breakups including Wilson's first marriage and drug lords who wield too much influence in Wilson's club. His own loosey-goosey ways with his record business and artist contracts leads to his label's demise. Through it all Wilson keeps his day job as TV personality and never lets go his allegiance to his beloved Manchester flag.
Thanks to 24 Hour Party People Steve Coogan as Tony Wilson may well become a star in Yank country. Known to TV audiences in the U.K. Wilson with a background in comedy is a brilliant and compelling presence as the film's drolly ironic and obviously learned hero. All supporting roles here are superb including Andy Serkis as doomed and messed up producer Martin Hannett Rob Brydon as Ryan Letts and Shirley Henderson as Wilson's first wife Shirley.
Michael Winterbottom who so brilliantly directed Welcome to Sarajevo but disappointed with The Claim again triumphs here. Employing an arsenal of special effects and using DV Winterbottom perfectly captures an era a rock movement a place and the authentic spirit of a hugely intelligent and appealing maverick entrepreneur whose field of vision extended well above the bottom line.