Category Archives: 1984 Movie reviews

1984 Movie reviews, Horror Films, Slasher Films

A Nightmare on Elm Street-1984

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A Nightmare on Elm Street-1984

Director-Wes Craven

Starring-Heather Langenkamp, John Saxon

Scott’s Review #1,019

Reviewed May 4, 2020

Grade: A-

Pioneer horror director Wes Craven, famous for reinvigorating the slasher genre with humor, wit, and satirically ponderous situations, created the iconic A Nightmare on Elm Street (1984), which introduced the legendary character of Freddie Kruger (Robert Englund) to audiences. Followed by eight sequels or re-introductions, the debut is a clever affair and a breath of fresh air in the too often formulaic world of slashers. And who could deny the satisfaction of seeing future Hollywood royalty, Johnny Depp, succumb to the villainous Kruger.

A group of unsuspecting teenagers are tortured both consciously and unconsciously as they dream the nights away, by a hideously disfigured man clad in a striped shirt and a gloved hand with razors. He taunts and teases the teens unmercifully as they reside, party, and have sex in small-town America, mainly spending their time in high school or on the cursed Elm Street. The main girl to experience Freddie’s devious wrath is Nancy Thompson (Heather Langankamp), who uses caffeine and more drastic measures to stay awake and alive!

To review A Nightmare on Elm Street without mentioning the Friday the 13th or Halloween franchises would be foolhardy since, combined, they make up the “Big three” of the entertaining slasher genre, each living on in infamy. To provide a quick chronology, A Nightmare on Elm Street ran from (1984-1994) adding a crossover with Friday the 13th in 2003, and an unnecessary remake in 2010. Friday the 13th hit cinemas in 1980, never looking back until the uninspired remake in 2009. Finally, Halloween debuted in 1978 and is still churning out relevant chapters.

Whereas Friday the 13th and Halloween chose to stick with a more realistic formula- a crazed killer wielding a butcher knife or an ax, the brief foray into outer space with Jason X (2002) notwithstanding, A Nightmare on Elm Street is the more cerebral of the three, mixing dreams and reality so the viewer is left perplexed and filled with thoughtful questions and is scared. As each victim is gleefully toyed with, invaded and killed in their dreams, and thus killed, by the burnt killer, more complexities exist.

Released right smack in the middle of the 1980’s- the decade of decadence, where a snug suburban life meant safety and sweet dreams, the target audience is the teenage crowd. In the height of the Reagan years where everyone and their neighbor had a vacation house, boat or BMW, this film scared the daylights out of most viewers. Sleep did not come easy for those who took Freddie’s taunts to heart.

While frightening, A Nightmare on Elm Street does not take itself as seriously as Friday the 13th or Halloween does. Infusing humor and snickering fun is a great recipe to differentiate itself from its brethren taking on straight-ahead horror. The film can blur the boundaries between the imaginary and the real, toying with audience perceptions at every turn and making them think.

Imaginative, this is not always the film’s key to success. Craven needs to be careful that his story does not teeter off into the absurd or the outlandish, which it did in later installments. Credit must be given to Englund, who takes crazy Freddie off to orbit with dizzying rapidity, going too over-the-top only once or twice. And who can ever forget the frightening child’s rhyming song featured in the film.

Story always eclipses effects, and Craven is wise to craft a backstory for Kruger to enjoy almost making him sympathetic, but then harshly bringing reality back and making the killer a child murderer. Still, the parents who took their own brand of vengeance and burned Freddie alive are not saints but sinners. This allows Kruger just enough empathy to keep audiences engaged. He’s a fun villain!

A Nightmare on Elm Street (1984) is a timeless classic that introduced the world to one of the horror genres best villains. Unlike Jason and Michael Myers, who are faceless, Freddie Kruger was played by one actor, Robert Englund, who gave him energy, zest, and charm. He will forever live on in the hearts of slasher fans everywhere.

1984 Movie reviews, Christmas Films, Horror Films, Slasher Films

Silent Night, Deadly Night-1984

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Silent Night, Deadly Night-1984

Director-Charles E. Sellier Jr.

Starring-Robert Brian Wilson, Gilmer McCormick

Scott’s Review #974

Reviewed December 30, 2019

Grade: B

Silent Night, Deadly Night (1984) is a fun, holiday-themed horror/slasher flick that is cheery mayhem in the spirit of the season, and a worthy addition to any horror fans collection. The film is best watched late at night for appropriate effect, and obvious to view around the holiday that it celebrates. It would make a great companion piece to Black Christmas (1974), clearly a superior film, but both containing eerily similar musical scores, the former updated with electronic beats for the 1980’s.

The horror film was met with ridicule and protest upon release for the promotion of a killer Santa Claus, despite the story being slightly overreacted to and not interpreted correctly. The “real Santa Claus does not perform the slayings, but rather a mentally unstable young man dressed in the red suit does the dirty deeds. Nonetheless, the film was unceremoniously yanked from theaters after parents expressed fear that their kids might be traumatized by the film. Silent Night, Deadly Night has graduated to cult-classic status and is entertaining, perhaps embracing its derision instead of running from it.

The action begins in rural Utah in 1971, as the Chapman family drives to a retirement home to see their catatonic grandfather. When left alone, the elder warns five-year-old Billy to fear Santa Claus, which his parents disbelieve. On their way home, they stop along the roadside to help a man dressed as Santa Claus, whose car appears to have broken down. The man robs and kills the parents, sparing Billy and his brother from death. Three years later Billy and Ricky reside in an orphanage led by the sadistic Mother Superior, and a kindly nun, Sister Margaret (Gilmer McCormick).

Ten years later (present times), the now grown Billy (Robert Brian Wilson) is benevolent and friendly, obtaining a job as a stock boy at a toy store with the help of Sister Margaret. As Christmas Eve approaches, Billy has flashbacks of his parents murders and later is forced to play Santa Claus for the Christmas party when a co-worker falls ill. As the staff become inebriated, a female co-worker is nearly raped causing Billy to go berserk and kill both the assailant and the victim who blames Billy. He then spends the night prowling the area for victims he can stab or behead.

Fun is the name of the game with Silent Night, Deadly Night. The film is to be enjoyed and is a macabre treat for slasher fans. The kills are respectable with the traditional methods used- an ax to the head and a bow and arrow death, along with more elaborate deaths like strangling with a chain of Christmas lights, and a bare-chested female victim being impaled on a moose head. The highlight is the beheading of a mean teenage bully as he gleefully sleighs down a hill on a stolen sled.

Plenty of gratuitous bare chests (female) common in these types of films are in store for the lusty male viewer, but a nude male is glimpsed as well to make for some R-rated diversity. Par for the course with slasher films made decades ago are the omission of cultural diversity. Not one Black, Latin, or Asian character is ever seen. The pure as snow Utah setting might be one justification.

If one were to attempt to analyze Silent Night, Deadly Night (not recommended) one can deduce a specific religious message or at least a questioning of Catholicism, specifically the harshness of Mother Superior and her interpretation of punishment being good and implemented in the name of god. Or maybe she is just a sadistic character? In perfect contrast, Sister Margaret is loving, protective, and nurturing to the orphans. Whatever the intention of the film makers, humor is the recipe as the strictness and rigidity are played for laughs.

Proper for any horror film, the final scene leaves room for a sequel. Indeed, there were four follow-up films made with the younger Ricky taking over as the serial killer. In satisfying form, Ricky glares at Mother Superior and exclaims “naughty!” before the credits roll. The unrated version of Silent Night, Deadly Night is the preferred version to watch.

Pull up the covers, light the fire, and kick back with a six-pack of Bud lite, roast some marshmallows, and enjoy Silent Night, Deadly Night (1984) for what it is. Bad acting, sins of the flesh, and a delightful holiday slaughter with unintentional (or intentional) humor and cliched characters make for robust enjoyment on a light-weight scale.

1984 Movie reviews, Drama Films, Epic Films, Period Drama Films

A Passage to India-1984

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A Passage to India-1984

Director-David Lean

Starring-Judy Davis, Peggy Ashcroft

Scott’s Review #971

Reviewed December 24, 2019

Grade: A-

David Lean, famous for his sweeping, masterpiece epics including Lawrence of Arabia (1962) and Doctor Zhivago (1965), returns with his swan song, a grandiose and lavish film, A Passage to India (1984). Though not quite on the same level as the two other mentions, the brilliant cinematography alone makes this one a winner. The story is compelling with a mystery and a he said/she said rape story that deepens, exploring racism and religion, assuredly switching viewer allegiances between characters.

A Passage to India is based on the famous E.M. Forster novel from 1924. Along with A Room with a View (1908) and Howards End (1910), the three makes up a series that examines class differences and hypocrisy among the British. All three are set at least partially in England and were all adapted to film with immeasurable success. While the film is potent and meaningful, it is the least brilliant of the three, but only by a hair.

Set in the 1920’s, the British had control over India causing some tensions in the air. Adela Quested (Judy Davis) sails from England to India with Mrs. Moore (Peggy Ashcroft), the mother of her intended bridegroom, who they plan to see when they arrive at their destination. The women have a wonderful relationship and excitedly anticipate their adventure.

After Mrs. Moore meets the kindly Dr. Aziz Ahmed (Victor Banerjee), becoming enamored and enraptured, the women accompany him to an exploration of ancient caves, along with a guide. When Adela and Ahmed are left alone, she suddenly appears frantic, accusing the Indian Doctor of attempted rape, setting off a blistering scandal that causes public debate and divides the townspeople, culminating in a trial.

The story is naturally the focal point of the film, but not the strongest part. At first left aghast at the accusations hurled at Aziz, by all appearances a wonderful man, the intention is for the viewer to be unclear of what transpires when Aziz and Adela are alone. The events, if any exist, take place off-screen, so we only see a disheveled Adela flee the caves in panic.  The rest is left to the viewers imagination and to wonder what happened. As the truth is eventually revealed, we wonder about the intended motivations and the ramifications the accusations will have on the central characters.

The film is successful at discussing racism and assumptions in an interesting way, leading major characters to disagree. Adela and Mrs. Moore wind up at odds after the events, with Moore refusing to believe Aziz did anything wrong. This is a bold stance to take as the women are good friends and we would assume one would support the other. While Moore is liberal and open-minded, Adela is conservative and buttoned up, making the ideological differences clearer. Did Adela imagine the attack? Did somebody else attack her?

The cinematography is brilliant and the pure excellence of the film. The plentiful exterior scenes are delectable and simmer with beauty within each frame. Since many of them take place in the grandiose mountains or caves the results are exquisite. One can easily sit back and revel in the majestic sequences and many scenes are still and quiet which enhances the effects. As with other Lean epics, advisable is to see this film on the biggest screen known to mankind.

At one-hundred and sixty-four minutes the film is hardly non-stop action, but rather slightly laborious and lumbering. Some parts are a tad too slow, but the payoff is mighty and there is a measure of intrigue throughout, especially once the cave incident occurs. I hate to say the film drags, but perhaps fifteen to twenty minutes could have been shaved off. When Lean is at the helm, a hefty running time is a guarantee.

A Passage to India (1984) is a film by a respected director that culminates a lengthy and inspired career in bold fashion. While not his best film, this should not detract from the excellent experience the film provides. Grandiose sequences and sophisticated style make the film able to be viewed more than once, a marvel for a film released in the lackluster 1980’s.

Oscar Nominations: Best Picture, Best Director-David Lean, Best Actress-Judy Davis, Best Supporting Actress-Peggy Ashcroft (won), Best Screenplay Based on Material from Another Medium, Best Original Score (won), Best Sound, Best Art Direction, Best Costume Design, Best Cinematography, Best Film Editing

1984 Movie reviews, Adventure Films

Indiana Jones and the Temple of Doom-1984

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Indiana Jones and the Temple of Doom-1984

Director-Steven Spielberg

Starring-Harrison Ford, Kate Capshaw

Scott’s Review #759

Reviewed May 17, 2018

Grade: A

The second in the trilogy (I refuse to acknowledge the middling Kingdom of the Crystal Skull in 2008), Indiana Jones and the Temple of Doom (1984) is easily my favorite of the group. Much darker than its predecessor, Raiders of the Lost Ark, it is also better, with more flare and pizzazz.  All three (1989’s The Last Crusade added) could be watched in sequence and easily enjoyed as companion pieces for a slice of 1980’s nostalgia.

A prequel to Raiders of the Lost Ark, the action picks up a few years prior as our hero narrowly escapes the clutches of a crime boss in Shanghai, China. Indiana Jones (Harrison Ford), along with sidekick’s eleven-year-old Short Round (Jonathan Ke Quan) and nightclub singer Willie Scott (Kate Capshaw), embark on an adventure to retrieve a stolen sacred stone. The poor villagers have also lost their children to a lavish palace where they are forced to work as slaves.

Wisely in keeping with the continuity of the first story, director Steven Spielberg and writer George Lucas return to the fold. This enriches the experience as both men clearly are in touch with the character of Indiana Jones and do not try to change him. His familiar wittiness and charismatic nature return and the dashing hero shows more skin this time around with more than one shirtless scene. To cement the good character, Harrison Ford returns to the role he created and made famous.

Indiana Jones and the Temple of Doom is layered with positive aspects and holds special childhood memories for me. I vividly recollect going to the movie theater and excitedly watching the film on the big screen clutching a tub of buttery popcorn. For a young boy this is the best- an adventure story for the ages with thrills and edge of your seat sequences. In fact, the film is perfect for the entire family.

Many gorgeous exterior sequences abound throughout the film and a prime example of this is when the trio encounter deadly assassins on a precarious rope bridge high atop a crocodile infested murky river.  This scene is fraught with tension and “how will he ever get out of this?” thinking when dear Indie is cornered by the killers. With lightning quick thinking he severs the bridge resulting in a dangling escapade. As numerous bodies fall into the river they are chopped to bits by the hungry reptiles. The fact that the action is all shot outdoors in lush scenery only adds to the enjoyment.

The film is admittedly filled with dark and scary aspects necessitating a PG-13 rating versus a PG one. As Indie, Willie, and Short Round are held hostage in the evil palace, a dangerous sacrifice occurs. One poor man is chosen to give his life by way of being burned alive in a roaring fire. Indie is then forced to drink potion presumably suffer the same fate.  Other bloody moments occur as a bad guy meets his fate after being flattened like a pancake by a steamroller. So clearly the tone of the film is much darker than Raiders of the Lost Ark.

To offset the blood, guts, and voodoo, the film occasionally parlays into humor mostly at the expense of Willie- the comic relief of the film. Accustomed to the glamour of costumes and luxurious hotels, the singer is forced to fend for herself amid snakes, elephants and other creatures. As she hungrily sits down for what she thinks is a scrumptious dinner, she is treated to monkey brains and bulging eye balls in soup- deemed Indian delicacies.

Lost on me seeing the film as a youngster and readily apparent watching it now are glaring negative stereotypes associated with the Indian culture. As I am sure the intent was not to insult, some stereotypes do abound with the hokey cuisines and the severe poverty. The underlying image of tribal Indians as being weird or out of touch is prevalent to say nothing of the odd religious overtones.

Kate Capshaw as Willie is the complete opposite of the central female character of Marion in Raiders of the Lost Ark. Whereas Marion is intelligent and serious, Willie is pampered, rich, and gullible. I find the camaraderie between Indie and Willie much more palpable than between Indie and Marion and the romantic overtures appealing. Who can forget the famous “bug scene” in the palace?

Conjuring up wonderful and exciting childhood memories, Indiana Jones and the Temple of Doom (1984) is a treasure for the eyes and the strongest entry in the bunch. If in the mood for a good, fun-filled experience with a healthy dose of Indian culture and adventurous antics with a slice of darkness this one is a must see.

Oscar Nominations: Best Original Score, Best Visual Effects (won)

1984 Movie reviews, Crime Drama Films, Drama Films, Epic Films, Favorite Film of the Year, Mob Films

Once Upon a Time in America-1984

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Once Upon a Time in America-1984

Director-Sergio Leone

Starring-Robert De Niro, James Woods

Scott’s Review #218

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Reviewed January 19, 2015

Grade: A

An epic film, the extended directors cut at more than four hours in length, 1984’s Once Upon a Time in America is a film directed by Sergio Leone, who also directed the 1968 masterpiece Once Upon a Time in the West and numerous other westerns starring Clint Eastwood. This particular film is in a different vein and not to be confused as any sort of sequel or related to the aforementioned film- this time Leone explores the crime drama genre rather than the western and does so in remarkable fashion.

The film tells the story of a group of Jewish friends who become involved in organized crime during the 1920’s in New York City. The main story is told via flashbacks as the central character, Noodles, played by Robert De Niro, returns to Brooklyn thirty years later to reunite with his former mobster friends. In this way the film is sectioned- the group of youngsters and kids and the same characters as adults.

Once Upon a Time in America has been met with much controversy since it was made. At the time of its release the film was butchered as over an hour of footage was cut by the studio heads making the film largely uneven. Fortunately, the restored version, at over three hours in length, is available for viewing. Furthermore, the directors cut clocks in at well over four hours and is the best version to watch. Due to so many cuts, other versions appear shoddy and out of order making the viewing experience difficult.

Once Upon a Time in America is largely underappreciated except for the die-hard cinema lovers most patient with the film, and deserves mention as an excellent crime epic drama. The film contains many similarities to The Godfather and The Godfather Part II and the role De Niro plays is not too different from Vito Corleone in Part II. However, the greatest contrast is that Once Upon a Time in America is more visually artistic than The Godfather films.

The film centers mainly on Noodles perspective as he enjoys youth in the Lower East Side of Manhattan where he meets his group of lifelong friends. The focal point is his friendship with Max, the adult character played by James Woods, and his undying love for Deborah, played by Elizabeth McGovern as an adult. As kids they are worry free, but gradually fall in with a group of older mobsters, first doing their dirty work, followed by venturing out on their own.

The themes of the film are loyalty, childhood friendship, betrayal, and greed as all of the characters change (or die) in the time span that the film takes place. When a mysterious letter forces Noodles to resurface in Brooklyn, we begin to understand the back story and the history between the friends as layers are slowly peeled back.

The film drags slightly in the middle section, but the first part and last part are very well made and absorbing. Leone has a way of pacing the film that really works- it is methodical, nuanced, with wonderful set pieces and each period of time explored- 1920’s, 1930’s, and 1960’s seem equally as authentic as the next one does. I especially enjoyed the 1920’s art direction- it revealed such a state of genuineness and felt like truly being there in that time period.

The relationship between Noodles and Deborah is an interesting one worth mentioning. Falling in love as youngsters (when Deborah was played by a very young Jennifer Connelly) they had an innocent, puppy love relationship. As adults, due to a violent, disgraceful act, their tender relationship is subsequently ruined and one might argue one of the characters turns quite unsympathetic.

Once Upon a Time in America is a sprawling epic film sure to be enjoyed by intelligent fans of the crime epic drama genre and specifically Sergio Leone fans- an under appreciated gem.

1984 Movie reviews, Comedy Films, Worst Rated Films

Bachelor Party-1984

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Bachelor Party-1984

Director-Neal Israel

Starring-Tom Hanks, Adrian Zmed

Scott’s Review #163

60020725

Reviewed September 1, 2014

Grade: D

Watching Bachelor Party for the very first time circa 2014, and quite certainly the last time I plan on watching this film, I realized almost immediately how dated it is and at this point in time can only be presumably enjoyed for nostalgia purposes. I can’t fathom anyone watching Bachelor Party for the first time and thinking it is a great film- it is not. If not for Tom Hanks becoming a huge star this comedy would be forgotten as there are dozens of like-minded films from the 1980’s that resemble it- think Pretty in Pink, National Lampoon films, etc.

The premise is basic- Rick (Hanks) and Debbie (Tawny Kitaen) are engaged and Rick’s friends throw a Bachelor party while Debbie goes out with the girls. Of course, Debbie’s parents hate Rick and scheme, along with her ex, to break them up. Every decade seems to have a similar carbon copy of this party themed film- Animal House, American Pie, The Hangover though not as entertaining as the aforementioned films.

All the characters are caricatures, one note, and types. There is little back story for any of them. The plot is silly, predictable, and the 1980’s look to the film does not hold up well. The film contains every stereotype imaginable- the meddlesome parents, Debbie’s vicious ex-boyfriend who is the film’s foil, various frat boys and sorority girl types, and Rick’s inept siblings. Avoid, unless a trip down 1980’s bad film memory lane is needed.

1984 Movie reviews, Horror Films, Slasher Films

Friday the 13th: Part 4: The Final Chapter-1984

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Friday the 13th: Part 4: The Final Chapter-1984

Director-Joseph Zito

Starring-Kimberly Beck, Corey Feldman

Scott’s Review #125

60002390

Reviewed July 21, 2014

Grade: B

Being the 4th chapter in the popular Friday the 13th saga, and the shameless marketing of this installment as being the final chapter, obviously a fib since the ending of the film clearly sets up another sequel, I have a soft spot for this Friday the 13th sequel, but, if I am being honest, with each viewing I realize more and more it is not nearly as good as the first three. In fact, from a storyline and technical perspective, it is a crappy movie. It now seems incredibly dated and of its time- the acting is mediocre at best. Fans of the franchise will love it, it is predictable, like eating at McDonald’s, you know exactly what you will get and that is fine- a gathering of horny, pot and beer induced teens flock to Camp Crystal Lake for a weekend of revelry. Apparently not knowing, or caring, that dozens of other teens have been slaughtered there before, they begin their partying.

For horror fans there is comfort in this film. We know the youths will be killed- we just don’t know how or when. That’s the fun and beauty of it. Will someone be decapitated? Lose a limb? Will the murder weapon be an ax or a machete? Who will be the last remaining victim? The introduction of the twins is a nice touch and a very young Crispin Glover appears. The addition of Corey Feldman to this one adds child feistiness. Otherwise, it’s pretty formulaic and not much separates it from any of the others. Fans of the Friday the 13th franchise will love this film, all others stay away.