Tag: 1991

Directed by Rachel Talalay [Other horror films: Ghost in the Machine (1993), The Dorm (2014)]

After the drab, disappointing fifth movie, Freddy’s Dead is honestly a breath of fresh air. It’s never been a movie I loved, but I was always entertained by it. Seeing it again, I have to confess, though, that perhaps I’m closer to loving it than I previously thought.

Here’s a warning, first off – there’s a lot I want to talk about, and I don’t have much of a cohesive plan in which to tackle the various different points I want to bring up and expound on, so if at any time I seem to be rambling, I’ll say this in advance: sorry, brahs.

I critiqued the hell out of The Dream Child for being confusing, and since I don’t want to be labeled a hypocrite, I’ll concur with anyone who says this one is confusing too. However, in this case, it didn’t bother me at all.

Well, I shouldn’t say at all – one of the characters, John (Shon Greenblatt), is apparently the last kid who lives in Springwood. Apparently Freddy killed the rest of the kids, causing a deep economic depression and mass psychosis of those who still live there. I fail to see how a kid could have gone unnoticed, though – where did he live? Did he have parents? It just seems odd that a kid could live in Springwood and somehow not attract the attention of the crazy townspeople.

Related, we can see that Springwood isn’t that far from the unnamed city John winds up. Much like Children of the Corn, I cannot believe that a town could survive in the state they’re in and not make national news, nor be smothered by social service workers. It makes more sense in Children of the Corn, actually, because it was a small town in the middle of nowhere, but we can clearly see that Springwood is pretty close to what seemed to be at least a moderately-sized city.

So yes, some of the logic bothers me. The first one, I can’t find a way around, but for the second point – well, technically, this film takes place in an alternate future (the opening says ‘10 years from now,’ which, to me, means 2001), and it’s possible that they was some type of collapse of a national government. Certainly the scenes in the city make it seem seedy, and the shelter for troubled youth seemed painfully underfunded. I guess my point is that, in times of economic despair, it’s not out of the question that the suffering of a small town might go largely unnoticed to a population living close by.

In a way, though, this makes the movie more fun. The fact it takes place in 2001 doesn’t really matter aside from explaining how there are zero children or teens left in Springwood, but it does make the story more interesting, in my view.

Look at Springwood, for instance – I absolutely loved the little we saw of the town. Adults holding a fair with no potential of joy, a teacher (Matthew Faison) reciting senseless lectures about Freddy to an invisible class, a woman at an orphanage who is so out of it, she thinks she sees children playing and having fun. The execution isn’t perfect – I don’t know why Roseanne Barr had to make an appearance – but the concept is pretty cool, and that chalk drawing of Freddy is the icing on the cake.

I also think the cast here is pretty strong. Lisa Zane (The Nurse, Toughguy, Natural Selection) was pretty solid in her role. I can’t exactly describe why, but I found her a lot of fun. Naturally, Yaphet Kotto (Alien, Warning Sign) is fun to see, and his character is solid. I’ve always been a fan of Breckin Meyer (from comedies such as Rat Race and Blue State to horror films such as Stag Night), so seeing him here young was fun.

Lezlie Deane’s (976-EVIL, Girlfriend from Hell) character was pretty good too, and perhaps the most traumatic of the characters here. She’d be top-tier if it weren’t for Zane and Kotto, actually. Ricky Dean Logan and Shon Greenblatt were the weakest here, but still fun at times. Lastly, though he’s as corny as expected, Robert Englund appears to be having fun here.

Speaking of fun, I think one of the reasons this movie sort of works is the fact it is actually entertaining. It doesn’t always hit – the video game/power glove sequence was pretty damn painful, and that Wizard of Oz reference hurt me in ways a man’s not meant to be hurt – but generally speaking, there’s some good times here. In fact, a couple of quotes come to mind: ‘The map says we’re fucked!’ (which is a line I use in my daily life – well, whenever I see a map, anyway) and ‘Damn it! I hate this house’ (a simple quote, sure, but hilarious in context).

Actually, there’s another quote, this one said by Freddy, and one I’ve loved since I was a kid, being ‘Every town has an Elm Street.’ Sure, much of this movie is goofy, but I’d put that line up against ‘You are all my children now,’ as one of Freddy’s best quotes.

And it’s on that note that I need to discuss something I probably should have discussed before. I’ve seen Freddy’s Dead probably twice before, but I never saw it as a kid. I did, however, once have my mom rent out Critters 3 on VHS – I don’t know why, as up to that point, I’d never seen the two previous Critters.

The point is, while we rented it, I watched the movie perhaps three times (and to this day, I have a very soft spot for Critters 3). The movie came out 1991, same year as this one, and before the film started, the VHS tape had a trailer for this movie – a trailer that I watched quite a lot – and it became ingrained in memory. My main point being, while I never saw this movie when I was young, I did see bits and pieces from the trailer, so I do feel a bit of nostalgia when watching this.

Another thing that I absolutely adore about this movie happens toward the finale – Lisa Zane’s character finds out something disturbing about her childhood, and goes to confront her mother, by banging on her door and shouting ‘MOTHER!’. I have to imagine that was intentional, as it’s exactly like how Nancy shouted for her mother in the first movie after seeing the bars on her windows.

But that’s not all – it’s around this same time that we hear the original theme music, as Lezlie Deane falls asleep. And to add to the nostalgic feel of the 1984 classic, while Freddy’s speaking with Yaphet Kotto’s character, he’s casually cutting off his fingers, just as he did in the first movie. It’s like these three things were thrown in as a way to celebrate the (supposed) end of the franchise, and I loved it.

Speaking of a celebration of the franchise, I loved how the film ended with a montage of clips from all six movies – some of the best, creepiest scenes are shown, and it’s a nice look back on the series that so many enjoyed, even during it’s worst moments. And ending with a ‘Freddy RIP’ was fun also.

Oh, another thing I rather liked was how they delved into Freddy’s past, showing his messed up childhood and abuse at the hands of his father. Anyone growing up in an environment like that would find it hard to become a functioning adult, so it’s hard to entirely blame Freddy for where his life took him. Admittedly, the Dream Demons looked rather shitty, but that’s 90’s 3D action for you.

Speaking of the abuse that Freddy faced, by the way, this was a pretty dark movie in terms of characters. As it dealt with troubled youth, you had a kid who has hearing issues due to an abusive mother, you have a teen girl who was sexually abused by her father, and you have a stoner who can’t live up to his father’s image of him. Combine that with the childhood trauma of Lisa Zane’s, and, despite this film being goofy at times, it can get pretty dark.

I don’t doubt that, in many ways, Freddy’s Dead is a mess. I find it thoroughly enjoyable, though, in ways that The Dream Child, and in fact, The Dream Master, couldn’t match. It worked for me, and that’s all that matters.

7.5/10

Directed by Maria Lease [Other horror films: N/A]

This is a film that I’ve known about for a long time, and has been on television plenty of times in the past, but I’ve actively avoided, if only because I likely thought it was some type of Child’s Play rip-off. After seeing it, it’s obviously not, but that doesn’t make Dolly Dearest any better of a film.

As far as the story here goes, I think it’s fine. I sort of like the idea of a family uprooting themselves from Los Angeles to Mexico on a business decision, but I don’t know if there was quite enough done with this to really make it a big part of the film. The supernatural aspects weren’t special – a little girl (Candace Hutson) slowly becoming possessed, multiple dolls also becoming possessed – but they were serviceable enough despite occasionally looking quite cheap.

Sam Bottoms (Up from the Depths and Hunter’s Blood) made for a decent, if perhaps uninspired, lead. I was more impressed with Rip Torn (A Stranger Is Watching) and his amusing relationship with Chris Demetral, who plays Bottoms’ intelligent and rather witty son. Lupe Ontiveros (who also had small roles in films such as Candyman: Day of the Dead and Dark Mirror) was good for some cultural flavor, and her religious beliefs clashing with the rationality of Denise Crosby (Pet Sematary). The cast is generally around average, with Torn and Demetral being my personal strong points.

For a cheaper-looking film, I thought a few of the deaths were decent, and the first major one was even decently atmospheric, if not a wee tad clumsy in execution. And while gore isn’t a strong point, there is a painful injury with a sewing machine to look forward to during another decent death sequence.

I do think that the final 15 minutes or so are a bit lacking. The final possessed form of the girl wasn’t particularly great, and while the dolls were never great, they look pretty bad during the conclusion. And speaking of the conclusion, something about it feels awfully rushed in a straight-to-video feel (which, believe it or not, Dolly Dearest isn’t).

Dolly Dearest isn’t a terrible movie, as there’s some solid performances and a little charm here and there, maybe even perhaps a fun plot point or two. It’s definitely unremarkable, though, and I think it’s below average, but I could see how this might have some fans out there. It just wasn’t for me.

6/10

This is one of the films covered on Fight Evil’s podcast. Listen below as Chucky (@ChuckyFE) and I discuss Dolly Dearest.

Directed by Daniel Erickson [Other horror films: N/A]

I definitely didn’t know what I was getting into going into this movie. I know that IMDb labels it a horror/comedy, which I guess is a fair description, but what I didn’t anticipate is just how much fun I would find much of the film.

If there’s one main drawback, it’s that I think Scary Movie runs on a bit longer than it needs to. I think they probably could have cut out ten minutes, maybe 15, and made it a quicker experience, because there were a few times when I felt my focus wander off. Otherwise, though, I think that it’s a movie with a lot of spirit and a lovely and charming encapsulation of Halloween.

For the first thirty minutes of the movie, a group of four friends are standing in line to get into a Haunted house attraction. During this time, an insane killer breaks loose. Most of the film, though, follows the friends, specifically the nervous wreck that is Warren (played by John Hawkes).

On a side-note, one of my favorite things in the film was, when the group of friends played jokes and pranks on Warren, this guy standing behind the group in line – not a part of the group, and in fact never actually talks to anyone in the group – laughs along with the others. The camera often puts him in focus as he cackles at Warren, and in fact he’s credited on IMDb as ‘Laughing Man’ (Ernie Taliaferro in his sole role, if anyone’s wondering). That happened multiple times throughout the movie, and it never got old.

What also never got old were the hokey yet charming set pieces in the haunted house, and really, the whole movie reeked of the spirit of Halloween in a way that, to me, few movies have (such as Trick ‘r Treat, Halloween III: Season of the Witch and, of course, Halloween), and for that alone, I had a really good time.

John Hawkes (who later popped up in Identity, which must be where I recognize him from) was an interesting lead character, and throughout the film we see him consistently surviving the horrors he’s facing. He’s a jumpy guy, though, so the amount of horrors he’s actually facing are sometimes in question. Ev Lunning is decent as a sheriff running for re-election, and Zeke Mills (‘You wonder where the yeller went when you brush your teeth with Pepperdent’) has some funny lines. The best actor, though, is probably Taliaferro and his laughing.

I don’t know if the end of the movie is entirely satisfying, but I think it works with the story, and feels oddly dramatic given the rest of the film’s somewhat light-hearted nature. This is definitely a movie that surprised me, though, and Scary Movie is a movie I’d recommend to fans of early 90’s slashers if they want something a little atypical.

7.5/10

Directed by John McNaughton [Other horror films: Henry: Portrait of a Serial Killer (1986), The Harvest (2013)]

Filmed in the late 80’s and not released until 1991, this science-fiction/horror mix isn’t a particularly great movie, but if you go into it not knowing much, nor expecting anything from it, The Borrower might turn out to be an okay watch.

As it was, I didn’t love it, but I will admit I was impressed by the fact that, despite the goofy premise (an alien is exiled on Earth for his crimes, and must survive by stealing the heads of Earthmen), this movie isn’t actually all that steeped in humor. Sure, there’s a little here and there, but much of the film is played decently straight (it helps that there are some serious topics addressed in this, such as homelessness, taking a life in self defense, and sexual assault), which was a pleasant surprise.

That doesn’t make the movie good, of course. The story itself doesn’t drag, but it does seem somewhat aimless at times (which might be expected, but it doesn’t make it any more enjoyable), and the conclusion, at least to me, felt rather lack-luster. Certainly the special effects, for what they were, weren’t at all shabby, but a competent story with decent special effects isn’t like to really keep people excited throughout.

I don’t think that Rae Dawn Chong, the lead actress, did a bad job here, and she did shine in a few scenes, but I’m hard-pressed to say that she really brought a lot to the film. More interesting to see was Antonio Fargas, who was in the classic 70’s television series Starsky and Hutch (a series of which I’ve seen most episodes of, believe it or not). Here, he played a homeless man who came into contact with the alien, and they almost have a buddy cop feel to them (up to a point, of course). Fargas didn’t really make the movie, by any means, but he was certainly a nice and familiar face to see.

When all’s said and done, The Borrower did exceed the admittedly meager expectations I had, but it still came out as a below-average film. Certainly for an early 1990’s movie that I’ve almost never heard of before, it was a somewhat nice surprise, and I certainly recommend it to fans of alien-based horror, but it’s a far cry from great, and definitely a different look for director John McNaughton (who directed the classic Henry: Portrait of a Serial Killer).

6/10

This is one of the films covered by Fight Evil’s podcast. Listen below as Chucky (@ChuckyFE) and I discuss The Borrower in all it’s glory.

Directed by Tom McLoughlin [Other horror films: One Dark Night (1982), Friday the 13th Part VI: Jason Lives (1986), The Haunting of Helen Walker (1995)]

For a television adaptation of a Stephen King story, this early 90’s flick is okay. The problem is that, compared to the original story, this falls moderately flat.

See, the short story (which was first published in 1974, then released in King’s first anthology, Night Shift, from 1978) was written in a very succinct, almost clinical, manner. It’s not King’s best outing in Night Shift, but it is a pretty solid story, and also appropriately dark.

Partially because this is a television movie, though, Sometimes They Come Back strikes me as a lot more saccharine than anything, and it’s overly sentimental, almost sappy, portrayal, really takes away from what the story brought forth.

If you’ve not read the story, I suspect it might fair a little better, but I still think the movie would feel like the sanitized, 90’s flick it is. There are some solid sequences, and pretty solid performances, but it just doesn’t cut it for me.

I do have to give props to Nicholas Sadler, Bentley Mitchum, and Robert Rusler, who gave a fantastically exuberant performance as some greasers out for vengeance. Their over-the-top style, including the fun Big Bopper reference, made the film a lot more fun than it otherwise would have been. Those three brought a lot of heart to this film, and their antics added a lot. Rusler, by the way, played Ron Grady in the second A Nightmare on Elm Street, which was sort of fun.

Otherwise, the only other performance that stood out was the lead Tim Matheson. Brooke Adams, who was also in The Dead Zone (1983), was okay, but didn’t particularly do much for me. Matheson, of course, is a rather well-known name. I know him best from The West Wing, where he played the Vice President for a time, and he also starred in the television movie Buried Alive, which I’ve previously reviewed. He does a good job here, and he fit the role I imagined from the story pretty well. His dialogue, at times, was rather sappy, and his internal monologue was way too 70’s, but he was nice to see nonetheless.

Compared to the story, Sometimes They Come Back isn’t that great. It’s been years upon years since I last saw it, and it’s not really a movie I could see myself watching again any time soon. There are much better Stephen King adaptations out there, so I’d personally just recommend sticking to the story. Still, this is a harmless movie, with occasionally fun scenes, so if it sounds like your thing, give it a shot.

6/10

Directed by Jonathan Demme [Other horror films: Beloved (1998)]

This is one of those very contested, borderline genre pieces. Personally, I find there enough qualities in this classic to consider it a horror flick, but if you’re one of the many who just don’t see the horror here, that’s understandable too. That discussion aside, The Silence of the Lambs is of course a solid movie, with it’s biggest strengths being the story and great performances.

It’s the combination of Jodie Foster and Anthony Hopkins that really give this movie life. Hopkins does a great job as Lecter, and despite his moderately short screen-time, he has a presence that really can’t be contested in the film. Playing Buffalo Bill, Ted Levine shows a fantastic, crazy side as opposed to Hopkins’ calmer form of insanity. Other performances worth noting are Scott Glenn (I love his rather straight-laced character here), Anthony Heald (who I saw somewhat recently in the 2006 comedy Accepted), and Frankie Falson (admittedly, he didn’t really do much, or get that much screen-time, but he’s still an actor I appreciate).

When you combine such a stellar cast with a pretty hypnotizing story, only good things can come from that, which I think is clear from the film. Though violence wasn’t much the point, there are a couple of standout sequences, such as Lecter’s breakout, that are well-worth seeing.

Quite often, this is a clever and psychological film, and it’s obviously very well-known, and for good reason. Many probably wouldn’t consider the film horror, but like other well-loved borderline flicks, such as Jaws and Identity, I certainly think it has its place in the genre. A great film with a lot going for it, this is definitely a 90’s film worth seeing, if for some reason you’ve not already.

8.5/10

Directed by Doug Robertson [Other horror films: N/A]

This is why I watch obscure horror. While not necessarily a gem, this early 90’s slasher really made up for the not-so-great movies I’ve seen recently. While the budget is clearly low, and many of the kills uninspired, I certainly got the feeling that this Kentucky-based slasher had heart. That being said, as I’m a fan of virtually 3/4’s of the slashers from 1975 to 1995, that likely doesn’t surprise anyone.

I’ve wanted to see this for a few years now, and I’m just happy I’m not disappointed. The nudity was ample enough to warrant a plus in that department. The kills, while at first, not great, got better, and toward the end, I was quite happy with what I witnessed. The story, while lacking, wasn’t as big a factor, as few people really watch slashers for the story.

If you’re a slasher fan in particular, this may well be worth watching. I did see that after the credits, “Coming Soon… Hauntedween II” rolled across the screen. Sadly, this looks like it never happened, as it’d have been a hoot to see. The acting here was pretty bad, on one last note – one of the characters has a terrible accent that really grates on you. After a while, though, you start to love the guy. As for other characters, they’re nothing special. Still, this was a pleasure to see, and if this ever comes out on DVD (which, after twenty some years, looks like it has), I’m definitely picking it up.

7.5/10