Sep 29, 2006  “now that I have watched New Line’s Infinifilm edition of A Nightmare on Elm Street, not only is it the only really good movie in the franchise, the special.

• A Nightmare On Elm Street 1984
• A Nightmare On Elm Street Wikia

Cover art: reviews/nightmare-on-elm-street-blu-ray-boxs.jpg Starring Robert Englund, Heather Langenkamp, John Saxon, Wes Craven Directed by Wes Craven, Jack Sholder, Renny Harlin, Stephen Hopkins, Rachel Talalay Distributed by As an associate producer on the award-winning documentary, it’s pretty safe to say that I know the A Nightmare on Elm Street franchise as well as anyone possibly could. These films are much beloved amongst genre fans, and Freddy is without a doubt one of the single most recognizable villains ever. That’s why when this box set first hit our radar, I’ve been hoping and praying it would deliver. Truth be told, it’s a bit of a mixed bag.

First off, let’s be clear this is the same exact box set that’s been available overseas and region free for months now. Nothing has changed for its domestic release. I’m not gonna bother reviewing each film individually because if you’re reading this, then you’ve already watched each countless times. You, too, know their ins and outs, and honestly, after working on NSA so long, I’m still pretty Elm Streeted out. That being said, we’re gonna talk about how the movies look and sound along with the bonus DVD.

The collection includes Wes Craven’s original A Nightmare on Elm Street (1984) as well as its six sequels: Freddy’s Revenge (1985), Dream Warriors (1987), The Dream Master (1988), The Dream Child (1989), Freddy’s Dead: The Final Nightmare (1991), and Wes Craven’s New Nightmare (1994). Out of all the Blu-ray transfers, it’s the original A Nightmare on Elm Street that looks and sounds the best, rocking a full 1080p and 7.1 surround mix. It’s pretty incredible and the benchmark for quality in this package.

The rest of the movies all sport a 5.1 Dolby surround mix and definitely look better than their DVD cousins, but it’s nothing dramatic. Sadly, of all the movies included here, it’s A Nightmare on Elm Street 3: Dream Warriors which gets the short end of the stick visually as the transfer is at times blurry and muddled, but then it has moments of razor-sharp brilliance.

Simply put, it’s inconsistent but even at its worst looks better than any standard definition package. The only other true sin committed here is once again the uncut version of A Nightmare on Elm Street 5: The Dream Child is completely absent. Come on, guys, get with the program.

The supplemental features from each film have been ported over from past releases, and the majority of them are in standard definition. No need to rehash all of that because you undoubtedly already own them so let’s move on to the DVD bonus disc, which clocks in at over three hours of goodness. Things kick off with the 30-minute featurette Fear Himself – The Life and Crimes of Freddy Krueger. Think of this as sort of a condensed version of Never Sleep Again. The focus here is on Englund and Craven, and rightfully so.

I highly recommend giving this one a spin; it’s short but meaty. From there we get two episodes of the “Freddy’s Nightmares” TV show – “Miserable Life,” directed by Tom McLoughlin ( Friday the 13th Part VII: A New Blood), and “Killer Instinct,” directed by Mick Garris and featuring Lori Petty. Given that the show wasn’t exactly stellar to begin with, these things look absolutely hideous transfer-wise, and I’m not even sure why these particular episodes were picked. Of the two “Miserable Life” is easily the better episode, and it’s good to see Friday VII star Lar Park Lincoln stretching her legs in Nightmare land.

Still, both are home to mere glorified cameos from Krueger and don’t exactly achieve what their intentions were. Capping things off we have 20 minutes of interviews in Conclusions, in which genre luminaries Clive Barker, Sean Cunningham, and more make an appearance; and then finally there’s Welcome to Prime Time, which consists of interviews from past documentaries as well as the hidden bits from the old Nightmare DVD box set. All in all this is a pretty solid offering. The Nightmare on Elm Street Collection without question has its ups and downs, but you cannot beat the amount of Freddy bang you get here for your buck. If you’re a fan, this is nothing short of an essential must-have so pick it up with confidence and enjoy. Till next time PLEASANT DREAMS!

Starring Justin Duncan, Gerald Crum, Kristin Cochell Directed by Michael Crum Oh, those ragged, haggard-looking vehicles of sinister overtaking, stuffed inside a seemingly harmless piece of childhood recreation and companionshiphow they’ve gotten so much of a bad name in the stretch of their cinematic existencealmost as if these dolls’ little legs actually WANTED to march themselves down our throats for the umpteenth time. Michael Crum’s Anna isn’t necessarily a complete mirroring of the rosy-cheeked conduit from The Conjuring series, but it comes painstakingly close, and at the risk of sounding more malcontented than I normally am, this one spoke to me in volumes as soon as I laid my eyes on the artwork. The film itself follows the exploits of two brothers (Duncan and Crum) whose hopefully burgeoning YouTube channel will set the internet on fire after their latest paranormal plan comes into place.

Their insanely-intelligent scheme? Well, they’re going to break into the local paranormal museum (easily accessible, without a doubt) and make off with said possessed doll.

After pilfering the porcelain passageway (so many Ps), they’ll document their experiences with the little moppet over the course of the week – now I ask in all honesty – what could possibly go wrong? With the overload of astute horror fans that come to this site, I’d be mistaken if I thought that no one would know exactly what happens next: you got it, kiddies – there’s some seriously malevolent action drumming up from this cherubic antique, and the fellas aren’t quite sure how to deal with its power. The movie, while attempting to scare the pants off of us (failure) also exerts itself in painful fashion, buddy-comedy style – an even bigger belly flop into a shallow pool. While we’re on the technical merits (or lack thereof) in the film – just who in the Hostess Twinkie hell was in charge of the lighting here? Was the electric bill not paid? Did someone re-invent the TapLight? Holy jumping Christmas shit, this movie suffered some bigger blackout issues than New York City back in 1977.

I’d love to sit here and bash my digits against the keyboard in frustration-related anger towards this monstrosity, but I’ll leave it up to the masses to decide whether or not to bypass this complete mess – (hint) – run and hideall I’m gonna say. Starring Maria Austin, Jon-Paul Gates, Tiffany-Ellen Robinson Directed by Steven M. Smith While not attempting to hold a candle to the 1981 film of the same name, Steven M. Smith’s The Howling is still a fun independent horror movie that should evoke (in a minimalist sense) some memories of the yesteryear screamers – a worthwhile flick that has some poke in its choppers, for sure. Drubbed-out of almost all color (a few exceptions here and there), the movie is set in Essex, and trails a young woman (Robinson) and her boyfriend (Eirik Knutsvik) who grab their slightly nerdy pal (Austin) in the hopes of uncovering the legend of Doctor Rathbone, who supposedly has the creative know-how to reinvigorate the recently deceased. Ah hell, let me cut out the B.S – the guy’s got the claim to be the next Dr.

Frankenstein, or at least that’s what the chatter is all about. So, we’ve got our fearless trio of conspiracy-theory shakers, complete with recording equipment to snag any evidence that might support the inane claims of the demented doctor (YouTube, here they come), and once the triumvirate hits the woods, the simple game plan of “investigate and document” proves to be quite the horrific undertaking. The film is low on production-value, and that cannot be mistaken – however, you cannot shrug off the intent of this movie, which is obviously meant to pay tribute to the old-timey Saturday afternoon shock-theater displays, and the captive allure they promised when we all tuned in on our idiot boxes. Mid-line performances and some decent gore sequences are nice additions to this distant cousin to Doctor Moreau – why is it that these kooks feel the need to live near the ends of existence in order to perfect their creations? I guess distance from the masses truly is the key, and for the most part, The Howling is a fun watch, especially for those who’ve wanted to construct an indie-film on a small allotment, both cash and time-wise. Will this presentation blow you out of the water?

I wouldn’t think so, but it should be enough to suffice with the lights off on a Saturday night. Starring Robert Brian Wilson, Gilmer McCormick, Linnea Quigley, Lilyan Chauvin Directed by Charles Sellier, Jr. Distributed by Scream Factory It may not have been the first Christmastime horror film, but Silent Night, Deadly Night” (1984) is definitely the most controversial; or, at least it was. Nothing shocks people these days. At the time, it was an offensive novelty to promote Santa Claus, outfitted with melee weapons, as the villain of a sure-to-be-horrifically-gory seasonal slasher picture.

Sometimes controversy can work in a film’s favor, increasing box office receipts – this was not one of those times for one simple reason: frightened by angry parents and Hollywood actors, distributor TriStar Pictures caved to public pressure and withdrew the film from theaters shortly after release. The irony of actor involvement in the outcry was Mickey Rooney being one of the most vocal detractors a man who years later starred in Silent Night, Deadly Night 5: The Toy Maker (1991).

Siskel & Ebert famously read aloud the names of the film’s producers on their show in lieu of an actual review, publicly shaming each of them. All of this seems, even now, to be horribly overblown. It isn’t as though this R-rated feature was marketed toward kids, although placing a deranged Claus on mass-marketed ads during the holidays is clearly walking a fine line. Regardless, the film is more greatly remembered for signpost imagery and the controversy it generated than being any good. Silent Night, Deadly Night is not a great movie – uncut or otherwise – but it does move at a quick pace (a tight 85 minutes) and the kills are reasonably memorable.

The real key to its longevity is the holiday setting. Everyone loves to put on It’s a Wonderful Life (1946) or National Lampoon’s Christmas Vacation (1989) when Christmastime rolls around; horror fans have their yearly staples, too. Christmas, 1971. Young Billy Chapman (Jonathan Best) and his family take a trip to visit his catatonic grandfather, who lives in a nursing home. Grandpa sits and stares all day, never uttering a word that is, until everyone but Billy leaves the room. Then, gramps turns to his grandson and creepily warns him about Santa, specifically how he punishes bad children so severely.

Later that night, Billy’s father pulls over to help a stranded motorist on the side of the road, one dressed like Santa. Unbeknownst to them the man had robbed a liquor store earlier that night and killed the clerk.

Billy’s father tries to flee when the man pulls a gun but he is shot and killed; his wife has her throat slashed. Billy runs off, leaving his infant brother Ricky in the back seat. A few years later, Billy (Danny Wagner) and Ricky are living in an orphanage, under the strict rule of Mother Superior (Lilyan Chauvin). It’s Christmastime and Billy finds himself triggered by the holiday, drawing depictions of Santa as a murderer and punching a man who arrives dressed as his holiday nemesis. Mother Superior is deaf to the reasoning behind his actions, but Sister Margaret (Gilmer McCormick) sympathizes with the troubled boy. Cut to ten years later and Billy (Robert Brian Wilson) is all grown up and looking jacked. Through the orphanage he is able to get work at a local toy store, and for once it seems as though things are looking up for Billy until Christmas hits.

His PTSD engaged once again, the final mental straw breaks when Billy is forced to dress up as Santa for the customers. That night, he snaps and an evening of punishment for the “NAUGHTY!” begins. It seems as though blasting this film isn’t limited to the critics because plenty of horror fans knock it for a variety of reasons. I’m sure part of my mild affection for this one-note slasher is the fond gaze of nostalgia, since this was a Christmas staple in my teen years. It isn’t as though any should expect anything more out of the picture aside from an unhinged Santa traipsing through town, axe in hand, meting out holiday punishment with extreme prejudice. The fact this film has any decent psychological subtext should be seen as a minor miracle. Wilson’s performance as the adolescent Billy is – dare I say – slightly nuanced until he turns into a lean, mean red killing machine.

Both of the nuns – Sister Margaret and Mother Superior – are brought to life with conviction thanks to strong performances from Chauvin and McCormick. Every other cast member is serviceable enough to keep the film moving along, although personal standouts are Billy’s creepy grandfather and the guido toy store employee who calls Billy a “moon goon”. Nobody is here for the acting, though, so let’s talk about murder. Lots of people get it here; a few are lucky enough to go in spectacular fashion.

The sled decapitation will always be the high point but Linnea Quigley’s death-by-antlers is a strong runner-up. I just love how logic is thrown completely out the window once Billy snaps and the film overpowers him like he’s on a roid-induced rage or something. Wilson is in shape but he ain’t exactly Arnold, either. Doesn’t matter, Rage Billy can lift men inches off the ground with ease and impale a human on a dull pair of antlers with virtually no momentum. Further sequels really missed the chance to bring Billy back again; just treat him like Michael Myers.

Although, then we might not have ever gotten “Garbage day!” To pull from a childhood favorite, Highlights Magazine, Silent Night, Deadly Night is the Goofus to Bob Clark’s Gallant, Black Christmas (1974). Someone gets that reference, right? The film is loose and sloppy and far from subtle, or even scary, but it sets out to do one thing and it does that right enough. Subsequent entries in this all-over-the-place franchise are either more entertaining or better than this one but this is the moneymaker and, for better or worse, remains a yearly tradition for horror fans. There is good and bad news. The good news is Scream Factory produced a new 4K scan of the original camera negative and the resulting 1.85:1 1080p image is stupendous; the bad news is all of the unrated footage once again comes from a video source, as the negatives could not be found.

Scream Factory has done what they can to match the two sources but it’s still plain as day when switches occur. The theatrical cut is a seamless experience, and the restorative work done is really exceptional. Fine detail and textures are given new life, with more detail than ever before evident in each frame. Skin tones look organic and vivid. Colors are bold and striking.

I’ve seen this film on just about every notable format and this is by far and away the best it has ever looked. The SD inserts are, again, obvious but since the added footage is limited to bits here and there the shifts aren’t terribly jarring. The English DTS-HD MA 2.0 stereo track has presence, delivering the corny source music and old-school synth cues with nice clarity. Sound effects are lively and realistic. The score elevates in a few scenes, adding a solid dose of tension to Billy’s menace. Subtitles are available in English. DISC ONE: Theatrical Cut A theatrical trailer, three TV spots, VHS trailer, and a couple of radio are the only extras included here.

DISC TWO: Unrated Version There are two audio commentary tracks included; the first, with Actor Robert Brian Wilson and Executive Producer Scott J. Schneid; the second, with Michael Hickey, Perry Botkin, Jr., Scott J. Schneid, and Michael Spence. “Slay Bells Ring: The Story of Silent Night, Deadly Night” – This is a typically informative retrospective piece, featuring interviews with several members of the cast & crew. For such a storied film that went through issues with name changes and censors and the press you had better believe there are plenty of anecdotes to be heard. An Interview with Linnea Quigley” – Many times, interviews like this wind up being a look back at the actor’s career, and this is no exception.

“Christmas in July: Silent Night, Deadly Night Locations Then & Now” – See the excitement that is Heber City, Utah as it stands as of July 2017. “Audio Interview with Director Charles E. Sellier, Jr.” runs for nearly an hour. “Santa’s Stocking of Outrage” – Footage of Billy’s massacre is shown alongside quotes from people decrying the film. There is also a poster & still gallery. Special Features: DISC ONE: THEATRICAL VERSION. NEW 4K RESTORATION from the original camera negative.

R-Rated Theatrical Trailer & VHS Trailer. TV Spots. Radio Spot.

Optional English subtitles for the main feature DISC TWO: EXTENDED UNRATED VERSION. NEW 4K RESTORATION from the original camera negative with standard definition inserts. NEW Slay Bells Ring: The Story Of Silent Night, Deadly Night – Featuring Interviews With Writer Michael Hickey, Co-Executive Producers Scott J. Schneid And Dennis Whitehead, Editor/Second Unit Director Michael Spence, Composer Perry Botkin, And Actor Robert Brian Wilson. NEW Oh Deer! – An Interview With Linnea Quigley. NEW Christmas In July – Silent Night, Deadly Night Locations – Then And Now.

NEW Audio Commentary With Actor Robert Brian Wilson And Co-Executive Producer Scott J. Schneid. Audio Commentary With Michael Hickey, Perry Boykin, Scott J. Schneid, and Michael Spence.

Audio Interview With Director Charles E. From Deadpit Radio (Extended Version).

Santa’s Stocking Of Outrage. Poster And Still Gallery.

I have been meaning to do this for a long i time. Since the release of the amazing that was released back in September of 2014 and the in September of 2013, at least. The two box sets mentioned were, in a word, EPIC! With both we got to see every single Halloween film together, with original art work, in one box set. The only thing lacking in both were great documentary’s.

Although, and are the Scream Factory editions and look great with good docs. Of course, Nightmare and Friday do not need a doc, since they both got the 1428 films doc treatment, and.

The Halloween and Friday the 13th sets also have the remakes included. Let’s talk about the a little. The picture quality is not too bad and each film being newer than the last helps. Is a complete port from the single edition that was released before the box set. The quality is amazing, the sound quality is great. The rest of the films suffer. Freddy’s Revenge looks the worst of the series.

A Nightmare On Elm Street 1984

My biggest issues with this set, the audio is off, really bad. It is fine in the first film, but I sat through all 7 titles and it was worse with each movie. Pisses me off, the Nightmare films are my favorite horror franchise.

I thought it was my copies, nope! I have encountered numerous people with the same issue, it seems to start with Dream Warriors and go from there.

I didn’t notice any issues in New Nightmare. There are some fun docs and little interviews with the set. A Nightmare on Elm Street: 5-Disc Collection Now in gleaming hi-def: the original first 7 Nightmares!. Blu-Ray™ Disc 1 – A NIGHTMARE ON ELM STREET. Ready Freddy Focus Points – See alternate takes and learn filmmaking secrets behind the Nightmare by jumping to video highlights while watching the movie. I am a lifelong horror fan.

A Nightmare On Elm Street Wikia

I have written for a few web sites, Kung-Fu Comrades, Nightfall Unlimited and Rage of Rayzor. Freddy’s Revenge was the first Horror Film I watched, I was 5. When my mom found out I liked horror films, she began challenging me. Soon to follow were the likes of The Texas Chainsaw Massacre and Dawn of the Dead. Horror is in my blood, I want to share that with youmy bloodhorror. I write unpublished comics.

Lifelong dream is to write comics for a major comic book publisher or build my own comic book company.