Perpetually vilified as being one of the worst films in the series, there is an argument to be made that the 2010 remake of A Nightmare on Elm Street is worthy of some merit. Consistently at the bottom of the list for most, the very mention of its name makes fans shiver. It conjures the thought of putting the movie in a body bag and dragged to the depths of hell together with all the other terrible reimaginings of beloved movies. While, admittedly, the picture isn't anything like Wes Craven's influential original, it isn't the worst — far from it. As a matter of fact, it can even be considered one of the franchise's most decent offerings. Now, before you grab your torches and pitchforks, hear me out first. It isn't anywhere near the ballpark of a classic, but make no mistake, it is miles better than the monstrosity that is Freddy's Dead: The Final Nightmare.
Jackie Earle Haley's Freddy Krueger Is Scarier Than Robert Englund's
While it may not have the amalgamation of horror and wonder that the original holds, there are some aspects of the film to be praised. The most immediate of these is Jackie Earle Haley as the new version of Freddy Krueger. This isn't a popular opinion by any means. A lot of fans did not give him a fair chance, critiquing his performance simply because he wasn't Robert Englund. As beloved as Englund is, his portrayal wasn't perfect. Not by a long shot. While the first two iterations, and its meta cousin Wes Craven's New Nightmare, embodied the sheer hair-raising quality of Freddy, Englund's portrayal became more of a punchline as it went on. If viewers could take off the nostalgia glasses, even for just a bit, they would see that Haley's Freddy presents a more nuanced take on the bastard son of a thousand maniacs.
From a visual standpoint, one can immediately see the difference. Krueger looks rugged, and his face resembles a more realistic presentation of a burn victim. Yes, the original makeup is iconic, but Haley's is just as terrifying as its predecessor. Haley's voice is also something to behold: raspy, deep, much like the stuff nightmares are made of. Most importantly, it isn't the same old Krueger that was killing victims inside a video game. Systematic, and downright malevolent in his deeds, this killer makes his victims quiver with fear while managing to get a few quirky wisecracks in. In effect, he does a damn good job of trying to erase the awful memories of Krueger desperately trying to draw laughs from an audience who was greatly exhausted with his shtick.
The 2010 'Elm Street' Remake Has a Terrific Opening Sequence
More than an intricate lead performance, the 2010 version of A Nightmare on Elm Street has quite the opening sequence. Set in a diner in the middle of a rainy evening, Dean Russell (Kellan Lutz) falls asleep and enters the dream world. He asks for a cup of coffee from the waitress, who completely ignores him. Dumbfounded, he follows her into the kitchen, which strangely seems to be in no condition to serve food. Suddenly, Freddy strikes with his finger knives. Dean is woken up just in time by Nancy Holbrook (Rooney Mara), the real-world waitress, who promptly serves him coffee. He sees his hand bleeding from the strike from the dream but dismisses it, and talks to his friend, Kris. Unknowingly, he falls asleep again and is killed by Freddy with a knife to the throat. However, the real-life version of this looks as if he has put the knife to his own throat, killing himself in the process.
This is perhaps the most fascinating scene in the entire movie and the base point for all arguments concerning its quality. No one really argues the fact that this is a fantastic introduction. It represents the essence of the best Freddy kills in the series. It is dreamlike in both a figurative and literal sense, ethereal in its feel, and genuinely scary. What irks a lot of people about this is that this is the pinnacle of the film. It's like successfully hyping up a boxing match during the press conferences, which turns out to be an absolute snooze fest in the ring. There is a certain level of potential in this opening, which could have easily translated into the rest of the picture, but it doesn't. Instead of the logical way of framing the killings as self-inflicted, which will leave more people not buying the Freddy bit, they rehash most of the kills from the 1984 classic, and not in a very flattering way. Still, the events that occur after this do not negate the value of its first 10 minutes. It's frenetic, interesting, and simply a great foundation for what could have been an equally great project.
Micro Sleep Is an Interesting Addition
The notion of micro naps is another welcome addition. In essence, the characters here experience random occurrences of dreaming, even when they perceive themselves to be awake. The supermarket scene, where it transitions from reality to dream world, is a nice touch that should have been presented more often. For one, it gives more avenues for Freddy to pounce, making him infinitely more terrifying. The only safe way to avoid this monster is to stay awake, but now, that isn't even an option. Anytime, anywhere, as long as your body can't take it anymore, Krueger could strike. The thought of eventually sleeping due to constantly being awake is scary, but the idea of being in a state of sleep while thinking you are awake is just plain petrifying.
The ‘Nightmare on Elm Street’ Remake Is Far From Perfect
It becomes very clear that the foundations of the movie are not the cause of its critical downfall, but rather the execution and playthrough. It revels in having moments of brilliance, which are never really left to bloom. A great opening scene that brings something new while still paying homage to the original? No, that's only going to happen once, and the tributes to the original become plain and boring reiterations that ultimately feel dated. Even though this is a remake, it doesn't have to be a blow-by-blow recreation, nor should it be a set of rehashed kills.
Perhaps this can be chalked up to studio interference, as evidenced by another wasted idea: the better, alternate ending. Samuel Bayer's other conclusion, included in the Blu-ray, had Freddy transforming into his pre-burned form, which brings boatloads of trauma to Nancy. She brings him into the real world and exacts frontier justice with a baseball bat, and burns him for his crimes. Cathartic, right? Again, as characteristic of this film's direction, they opt for a more familiar route. Freddy is brought into the real world, and killed with a paper cutter, only to materialize in the movie's ending to kill Nancy's mother. It was cheesy the first time and still is in its recreation.
Despite these shortcomings, it is still pretty hard to say that the film is utter garbage. As a whole, it's not as cohesive as you would expect it to be. It might not be everyone's cup of tea, but it isn't soulless. On the contrary, it does carry a spirit in it, one that's disturbing and makes no bones about what it is. It transforms Krueger into something truly unlikeable. Englund's Krueger was despicable, but there was a quality in him that amused viewers. Haley's Freddy is truly sinister, leaving no ounce of sympathy, and is simply terrifying. This may have been one of the causes of dislike from viewers, but isn't that the point? To make the protagonist completely hated, while rooting for the "heroes" to win in the end? Rather than something to be merely scrutinized in the ways it is similar and different to the originals, it should be treated as more of an experience. It's not the 1984 classic, not in any conceivable fashion, but it does carry value in bursts. There is always something good to be found, even in the dirtiest of places, but the 2010 remake of A Nightmare on Elm Street puts forward the notion that it might not have been that dirty, to begin with.
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