Ronee Blakley | Scott's Film Reviews-1,425 + Reviews posted so far!!!

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 is 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 Langenkamp), 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 1980s- 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 when 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 by 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?

The 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 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 genre’s 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.

Nashville-1975

Director Robert Altman

Starring Lily Tomlin, Keith Carradine, Karen Black

Top 100 Films #7

Scott’s Review #47

Reviewed June 19, 2014

Grade: A

Nashville (1975) is a brilliant film.

I have found that with each subsequent viewing, it creeps higher and higher on my list of favorite movies of all time.

The style is unique (largely improvised) and epitomizes creative freedom in the film during the 1970s.

Director Robert Altman lets his actors express themselves, even allowing them to write their songs, the dialogue overlaps at times, which results in a natural feeling as the viewer watches the cast of twenty-four principles intersect over five days at a political rally/country music festival.

It is pure Robert Altman at his finest.

Nashville is a satire of the political arena of the early 1970s and the Vietnam conflict and politicians, specifically.

The film certainly questions and challenges the government with an ironic patriotic setting (Nashville).

The country music industry was in an uproar upon the initial release of the film. It is a layered film that can be discussed and appreciated and every character is cared about.

I cannot adequately describe the multitude of nuances in each scene that are noticed over time.

Each character- even some with limited screen time is important to the story as are the political elements- the questions of wars, policies, etc. abound.

The chaotic bits and individual storylines come together at the end and many background happenings are incredibly interesting to watch and take note of throughout each viewing.

With each experience, the audience will notice more and more. I certainly do.

Lily Tomlin, for example, plays Linnea, a haggard mother of deaf children with a supportive husband, a woman who on the surface is heroic, yet she is a complex character; she is bored with her life and falls in love with a young musician despite the guilt and repercussions.

The musician in question is Tom Frank, played by Keith Carradine. Handsome, and self-absorbed, he arrives in Nashville to dump his bandmates in hopes of a solo career and beds many willing females.

He also lashes out at a soldier at the airport, saying, “Kill anyone lately?”

Despite his unlikeable character, Carradine gives one of the most beautiful performances in the film when he sings “I’m Easy”.

Several of the female characters assume he is singing the song for them, but who is he truly singing it for…if anyone?

Another character to analyze is Barbara Jean, played by Ronee Blakley. A frail yet very successful country singer, she is in and out of hospitals as she frets about her replacement singer stealing her thunder.

Her insecurities rise to the surface.

Insecurity is a common theme among the characters. Many of them are either unsure, afraid, or not confident about their musical talent, their relationships, or even themselves.

These are only three examples of the twenty-four richly layered characters- some ambitious, some falling apart, others meandering through life.

Many songs throughout were created by the actors themselves.

Nashville (1975) is storytelling and filmmaking at its best. A creation by Altman that is deservedly admired, revered, and heralded as a major influence.

It is studied in film schools as it should be.

Oscar Nominations: 1 win-Best Picture, Best Director-Robert Altman, Best Supporting Actress-Ronee Blakley, Lily Tomlin, Best Original Song-“I’m Easy” (won)