Category Archives: Wes Craven

1982 Films, Adrienne Barbeau, Camp, David Hess, Dick Durock, Louis Jourdan, Ray Wise, Super Hero, Wes Craven

Swamp Thing-1982

Leave a comment

Swamp Thing-1982

Director Wes Craven

Starring Adrienne Barbeau, Louis Jourdan, Ray Wise

Scott’s Review #1,445

Reviewed October 14, 2024

Grade: B+

Wes Craven’s murky swampland, Adrienne Barbeau’s cleavage, and a battle of good versus evil make Swamp Thing (1982) a titillating watch.

It is marketed as a superhero movie and contains a famous cover art shot of the ‘swamp thing’ carrying a scantily clad Barbeau across a swamp. This is warranted since it is adapted from a DC Comics character of the same name.

Swamp Thing is pure camp and makes no bones about it.

There’s not a lot that is interesting from a story perspective other than a run-of-the-mill plot. The bad guy greedily plots to take over the world with a mysterious serum and is conquered.

But, the visuals make Swamp Thing atmospheric, the bizarre romance works, and Barbeau carries the film making it an entertaining one hour and thirty-one minutes.

Dr. Alec Holland (Ray Wise) is a botanist on the verge of a breakthrough to wipe out world hunger when special government agent Alice Cable (Adrienne Barbeau) arrives on the scene to protect him from a threat.

A brief flirtation ensues between the pair.

Psychotic scientist Anton Arcane (Louis Jourdan) wants to steal Holland’s research for his fame. An unforeseen accident during the heist turns Holland into the Swamp Thing, an enormous plant-like creature that fights back against Arcane’s henchmen to save Alice.

Swamp Thing hints at Craven’s notoriously dark revenge film, The Last House on the Left (1972) though nowhere near as dark as that film.

The exterior settings resemble each other despite being filmed in different locales and characters frequently charge or flee the woodsy atmosphere in peril. Watching on a streaming service provided a grainy video which enhanced a rawness that helped the film look less cartoonish.

A repeated watch might need better video production to notice subtleties missed during its first viewing.

I can’t be critical of Swamp Thing because it’s an enjoyable experience.

The early romance between Alice and Alec is nice though limited. I confess to nearly being teary-eyed during a tender moment between Alice and ‘Swamp Thing’, now played by Dick Durock. After Alice is shot in the breast she is tenderly healed and held by the creature.

Speaking of breasts, Barbeau bares them during a scene where she bathes in the swamp. The intent is sensational and to showcase her ‘girls’ as much as her running around or being chained in a low-cut dress is.

Being a fan of Barbeau’s this didn’t bother me as much as it should have but where were the scantily clad men? They didn’t exist.

Also laughable is Barbeau as ‘damsel in distress’ when the actress is well known for tough girl roles like Rizzo in Grease or Maggie in John Carpenter’s Escape from New York made only a year earlier.

As she meekly cried out for help I couldn’t help but chuckle inside, especially since her character is part of a government security team sent to protect.

Jourdan is excellent as the evil Anton playing the role over the top like standard superhero villains. This proves successful as we cheer on his ultimate demise.

The musical composer Harry Manfredini also scored most of the Friday the 13th film series (1980-2001) which is easy for fans with a knack for spotting eerie yet 1980s-based soundtracks.

Swamp Thing (1982) may not be a cinematic genius but there is enough to enjoy for the average viewer, especially early superhero fans. Barbeau and Craven make the film better than it would have been without them.

1972 Films, David Hess, Horror, Independent, Independent Horror, Steve Miner, Wes Craven

The Last House on the Left-1972

Leave a comment

The Last House on the Left-1972

Director Wes Craven

Starring Sandra Cassel, Richard Towers, Eleanor Shaw

Scott’s Review #1,387

Reviewed August 6, 2023

Grade: A

Heavily influenced by Ingmar Bergman’s 1960 masterpiece The Virgin Spring, The Last House on the Left (1972) is essentially the same story.

The time is modern and the locale is switched from Sweden to New York and the religious exploration is not there. But, rest assured, both films are brutal and not for the faint of heart.

It’s not violence for violence’s sake though and a powerful revenge tale surfaces amid unique camera styles and settings.

Wes Craven, who put the horror genre back on the map decades later in 1996 with Scream writes and directs the independent and raw The Last House on the Left.

He was accused of going too far in the film and exploiting pain and suffering, mostly by victimizing female characters, but the truth is the situation can and has occurred in real-life.

The film brings powerful realism to the terrifying actions of horrible people and if that’s too much for some they shouldn’t watch this film.

But, lovers of experimental cinema should.

Craven’s genius is mixing sunny, cheery sequences, poppy music, and comic relief with uncomfortable scenes of rape and torture so well that the audience’s reaction is guttural and rage infused. The dark scenes occur on a sunny afternoon in the woods with upbeat music on what would otherwise be a pleasant day.

Many horror sequences add darkness, thunderstorms, or other special effects to set the proper mood but Craven goes way left of center.

Perky teenagers Mari (Sandra Cassel) and Phyllis (Lucy Grantham) head into New York City for a concert where they look for some marijuana. They stumble upon a foursome (three men and one woman) of escaped convicts who force them to endure a night of rape and torture.

The following day the gang kills the girls in the woods, not realizing they’re near Mari’s house. When they pose as salesmen and are taken in by Mari’s mother (Eleanor Shaw) and father (Richard Towers), the parents quickly figure out their identities and plot revenge.

A side story involves two incompetent police officers who unsuccessfully try to pursue the escaped convicts.

I immediately was made aware of the very low-budget filmmaking with muted, grainy visuals. The cinematography is what makes The Last House on the Left work so well. With high caliber, glossy texture it would seem too polished.

The acting isn’t brilliant and the overall look and feel is reminiscent of a John Waters film. Again, this only enhances the bare bones, late-night viewing experience.

There are warnings galore. The pain and suffering endured by Mari and Phyllis are hard to watch and I felt their degradation in my bones. I won’t go into gory details but it isn’t fun.

However, there is some satisfaction to be had. When Mari’s parents cleverly set traps inside their house for the murderers to fall into there are cheer out loud moments of celebration for the audience.

One murderer even gets his penis bitten off.

Suspension of disbelief must be given to justify how this chain of events could occur. What are the chances the convicts would happen to bring the girls to Mari’s house in the middle of nowhere?

Wouldn’t the parents be in shock or having a meltdown over the realization of Mari’s death? Somehow they find the wherewithal to construct a stagey revenge plot on the fly.

The dumb cops will do no favors for police officers looking for some respect.

Still, the utter depravity and brutality of The Last House on the Left (1972) make it one of the most genuine feeling horror films of all time. Add the fact that the situation could happen and the result is a frightening one.

1987 Films, Dick Cavett, Fantasy, Freddy Kruger, Heather Langenkamp, Horror, John Saxon, Laurence Fishburne, Nan Martin, Patricia Arquette, Robert Englund, Slasher, Wes Craven, Zsa Zsa Gabor

A Nightmare on Elm Street 3: Dream Warriors-1987

Leave a comment

A Nightmare on Elm Street 3: Dream Warriors-1987

Director Chuck Russell

Starring Patricia Arquette, Heather Langenkamp, Robert Englund

Scott’s Review #1,028

Reviewed May 29, 2020

Grade: B+

A Nightmare on Elm Street 3: Dream Warriors (1987) is a credible effort to take the, at this point, tired slasher genre in a new direction, using style and special effects to its advantage.

The film is not a work of art and does not stray too far from the norm to risk losing the target audience, but the experiment works, providing the film with a fresh feel.

Thankfully, Freddy Krueger (Robert Englund) is in tow providing wit and humor and rich character history rarely seen in horror.

One year following the events of the previous chapter, Kristen Parker (Patricia Arquette) awakens following a nightmare of being chased by Freddy Krueger, to find him in her bathroom where she is attacked again.

Her mother believes that she is suicidal and sends her to Westin Hills Psychiatric Hospital, where Kristen is placed under the care of Dr. Neil Gordon (Craig Wasson).

The rest of the events of the film mainly take place in this setting. A new intern therapist, Nancy, (Heather Langenkamp) takes an interest in Kristen’s case.

In two clever plot twists, one a bit too coincidental, Nancy reveals to the remaining patients that they are the “last of the Elm Street kids”, the surviving children of the people who banded together and burned Krueger to death many years ago.

The second is more intriguing as a nun named Sister Mary Helena (Nan Martin) provides the history of Freddy’s mother, Amanda Krueger, who turns out to be the same.

This humanizes Freddy a bit and provides layers to his story rather than just another “slice ’em and dice ’em” horror film.

The film has a way of gathering curiosity and delivering the goods with dreams hypnosis and mental synapses, as the kids realize they have dream powers that culminate in a group adventure.

Perfect for the mental hospital setting.

The junkyard sequence that provides the climax with so much muscle is splendid adding creative and colorful bits of junk, littering the entire set with rusty tin trinkets and other nooks and crannies to marvel at.

A feast for the eyes and a perfect backdrop for evil and killings. The set design works tremendously well in this film.

The familiar character Nancy played once again by Langenkamp (the main girl from the first Nightmare) is a nice touch of recognition that will please fans immensely. A returning favorite in a horror franchise is always a smart move.

The casting of esteemed character actress Nan Martin, who can frighten the pants off anyone if given a good part, is a divine decision. The actress even resembles legendary actress Betsy Palmer (familiar to Friday the 13th fans as the dreadful Mrs. Voorhees).

The creepy mommy theme so often works well in horror films and this inclusion is no exception.

The theme song to A Nightmare on Elm Street 3: Dream Warriors is a pop-metal treat written and performed by the heavy metal band Dokken.

This inclusion assuredly brought the teenage girls and the mullet crowd alike to movie theaters across America. The song is catchy and can easily be head-banged as the end credits roll across the screen.

Even more impressive is that the lyrics make sense from a story perspective since dreams are a huge part of the franchise and this specific installment.

Nearly rivaling the original A Nightmare on Elm Street (1984) in originality and plot, A Nightmare on Elm Street 3: Dream Warrior (1987) does a fantastic job bringing energy to a fading genre, one not to be rejuvenated for another nine years when Scream (1996) debuted.

Engaging and brightly lit razzle-dazzle visual sets within dreams are pulse-racing and creative, while a mother story crafts fresh air. This film is the sequel high-point to a series of duds soon to follow.

1984 Films, Freddy Kruger, Heather Langenkamp, Horror, John Saxon, Johnny Depp, Lin Shaye, Robert Englund, Ronee Blakley, Slasher, Wes Craven

A Nightmare on Elm Street-1984

Leave a comment

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.

1996 Films, Courtney Cox, David Arquette, Drew Barrymore, Frances Lee McCain, Henry Winkler, Horror, Liev Schreiber, Linda Blair, Matthew Lillard, Neve Campbell, Patrick Lussier, Rose McGowan, Skeet Ulrich, Slasher, Wes Craven

Scream-1996

Leave a comment

Scream-1996

Director Wes Craven

Starring Drew Barrymore, Neve Campbell, David Arquette

Scott’s Review #710

Reviewed January 5, 2018

Grade: A-

Wes Craven’s 1996 film Scream is a piece that greatly assisted in bringing the horror genre back into relevance after a long drought throughout the late 1980s and early 1990s when horror films suffered from both over-saturation and cliche-riddled messes.

Thanks to Scream, creativity and plot twists and turns returned to the forefront of good horror films, and a clever film was birthed.

Fast-forward to 2018, the film does suffer a bit from a dated 1990s look but is still great fun to watch and a treat for all classic horror buffs as the references to classic greats are endless.

The film is sectioned off nicely and gets underway quickly  (in the best sequence of the film) as Casey Becker (Drew Barrymore)  receives a flirtatious phone call while making popcorn, from a man asking her to name her favorite horror film.

The friendly game quickly turns vicious as the caller threatens to kill her boyfriend should she answer a question incorrectly.

In a clever twist (think 1960s Psycho!) Casey and her boyfriend meet deadly fates and the opening credits begin to roll.

Given the huge star, Barrymore was in 1996, this twist was all the more shocking and attention-grabbing.

The remainder of the film centers around Sidney Prescott (Neve Campbell), a popular California high school student, as she is pursued by an attacker known only as “Ghostface”, who dons a creepy costume and terrorizes victims via phone calls.

The small town, led by police officer Dewey Riley (David Arquette) and bitchy newswoman Gale Weathers (Courtney Cox), is determined to unmask the killer and figure out his or her motivations.

Sidney’s boyfriend, Billy (Skeet Ulrich), and other friends are along for the ride as a possible connected sub-plot involving Sidney’s deceased mother is introduced.

A romance between Dewey and Gale is also broached.

Scream is an enormous treat for fans of the horror genre as numerous references (and film clips!) of classics such as 1978’s Halloween abound throughout the film.

Other references to Friday the 13th, Prom Night, and A Nightmare On Elm Street appear during the film.

Writer, Kevin Williamson, a horror enthusiast, must have had a ball writing the screenplay that would become Scream.

In 1996, the mega-success of the film successfully not only jump-started the entire genre but also introduced younger fans of Scream to classics that were perhaps their parent’s generation and got them interested in the films.

Classic horror films are not only referenced during the film but also explained, mostly by the supporting character of Jamie, the nerdy kid who works at the video store and adores horror films.

A sequence in which he explains several “rules” of the horror genre is superlative, creative, and just great fun. He tells the teenagers at a party that anyone who drinks, has sex, or says “I will be right back”, is doomed to suffer a violent fate.

This clever writing makes Scream enormous fun to watch.

The climax of Scream is quite surprising in itself and the “great reveal” of the murderer (s) is also intelligent writing and quite the surprise. Several red herrings are produced along the way, casting suspicion on other characters who may or may not be the killers.

A small gripe of the writing is the motivations of the murderers- when the explanation is given for their killing spree, the reasoning is a bit convoluted and hard to fathom, but this is horror, and suspension of disbelief is always a necessity.

Scream is best remembered for giving the horror genre a good, hard kick in the seat of the pants and shaking all of the elements up a bit while preserving the core ideals of a good slasher film (suspense, a whodunit, and good solid kills).

Scream (1996) was followed by several sequels, some achieving better successes than others. In 2018 the film may not be quite as fresh as it once was, but is still a solid watch and memorable for relaunching a genre.