Back in the 1980’s, the marketing of Freddy Krueger transformed New Line Cinema from an independent company to the major player they are today. In 1999, New Line Home Video finally paid tribute to the Freddy Krueger phenomenon by releasing a limited edition DVD box set of their figurehead franchise. The box set included the uncut versions of all the films, in widescreen (with 16x9 enhancement) and new Dolby Digital 5.1 sound remixes (along with the original mono tracks). Included in the set was an additional DVD called THE NIGHTMARE ENCYCLOPEDIA which included every NIGHTMARE ON ELM STREET extra ever created for all seven films. As you would imagine, the box set was quickly scooped up by eager genre fans. If you see one on store shelves today, consider yourself lucky. With the exception of the original NIGHTMARE ON ELM STREET, the films have not been available separately on DVD. Then, in the summer of 2000, New Line Home Video released all six sequels separately on DVD. Throughout the Freddy Krueger sequels, quality and originality went downhill with each release. But I believe that all Freddy Krueger fans pretty much agree that the best sequel in the series is WES CRAVEN’S NEW NIGHTMARE. Freddy creator Wes Craven returns to the fold to create a new mythology for the maniac, and reunites most of the cast of the original.

When it's clear that her son is having nightmares as well, she consults with her co-stars from the first film (including Robert Englund and John Saxon). She finally meets with Craven at his home about the new script that he's working on: It seems that every line he types on his word processor somehow becomes real. Thus Craven explains it to Langenkamp that his story has become reality, and that the eternal concept of evil that has been contained in Freddy, and he wants to escape into the real world. But first, the real-world Freddy must confront the real-world Nancy (Heather) as a gateway to our world.

In WES CRAVEN’S NEW NIGHTMARE, Craven borrows from Lucio Fulci’s CAT IN THE BRAIN, and constructs the narrative in a film-within-film framework. The setting for WES CRAVEN’S NEW NIGHTMARE is the real world, in Hollywood, California where the specter of Freddy haunts the cast and crew of the original NIGHTMARE ON ELM STREET. WES CRAVEN’S NEW NIGHTMARE retools the Freddy character and creates a new mythology; Krueger is no longer the son of a thousand maniacs; rather he is an eternal demon destined to return from his netherworld to walk the realm of mortals. Though the film treads new ground, it also makes a sharp return to the roots of the original NIGHTMARE ON ELM STREET. Gone are the attempts at humor that plagued the sequels, and the pop culture references of the 1980’s films.

After writing and directing the original, Craven left the sequels to the hacks. Craven’s new vision for his creation results in a polished script that operates on several levels of reality and irony. Nobody generates more suspense than Craven. WES CRAVEN’S NEW NIGHTMARE should please just about anybody, from the most hard-core fans to the series harshest critics. Craven includes some commentary (such as the commercialization of Freddy), when he depicts a TV talk show that hosts an auditorium full of little kids who are Freddy Kreuger fans. Then he throws in his usual dark fairy tales imagery (such as Nancy’s son like leaving a trail of sleeping pills like in Hansel & Gretel). Craven also explores the effects of horror films on the public. The return of Freddy is no big deal. It is the return of Wes Craven that is the big news (Craven would again go on to change the face of mainstream horror with his SCREAM films).

That’s not to say Craven’s script is perfect. There are areas in the film where dreams and reality become one, and this is not clearly defined, making for some confusing moments, even for a Freddy film. One part that bothered me about the story, is that the character of Nancy’s son, Dylan (Miko Hughes) is exploited to the maximum, to draw audience sympathy. First, the Dylan’s father dies. Then he becomes possessed. Then he is taken from his mother and put into confinement. The authorities think his mother is responsible for Dylan’s condition, and they threaten to take him away from his mother. Then Freddy abducts Dylan and whisks him away to the dream world. It’s just one thing after another, and it gets old quick. No juvenile in any film should be subjected to such mental and physical abuse. Craven’s biggest problem still resides with his dialog. After Dylan’s baby-sitter punches out a nurse who is trying to stick a needle in his arm, her associate proclaims, "Hey! You can’t do that!".

It’s ironic that Heather Langenkamp gives her greatest performance not as Nancy from NIGHTMARE ON ELM STREET (or Nancy Kerrigan for that matter) but as herself. She not only plays the victim that we’ve seen in the past, but now she is the concerned mother. She does a good job of portraying the full range emotions that a mother would face in similar situations. Robert Englund as himself is unusually subdued (though as Freddy he’s as nasty as ever). Miko Hughes, a young actor who specializes in playing mentally screwed up young kids in mainstream Hollywood films (as in PET SEMATARY), is the true star of WES CRAVEN’S NEW NIGHTMARE. The hell that this kid endures borders on the absurd, and he does it all while keeping a straight face and trying hard to look cute. John Saxon does not have a meaty role, but we definitely see his emotional side. Only Wes Craven as himself can’t bring any drama or feeling to his small but pivotal role. Stick to directing, Wes.

-  Phil Chandler