What the fuck? Surely this wasn’t originally in 16:9?
Gah! They’ve cut this down from 1.85:1 to 1.77:1! The edges are gone!
Now I don’t know whether I want to watch this… I was pretty suspicious of this box set — it’s got all the Freddy movies — on four bluray discs.
Except for the mutilation, the restoration looks pretty OK, though.
I was gonna relax with some trash after having watched over thirty quality films, and now it’s ruined. RUINED I TELLS YA
This movie is still kinda scary, though. I haven’t seen it since I was a teenager, and I remember being scared shitless.
Such teenagers they have in high schools!
It’s just such a good idea. I mean, Nightmare on Elm Street — nightmares are the scariest things most people experience (hopefully), and this film harnesses that expertly. And Wes Craves can play around endlessly with the viewer’s expectations — “did she nod off? is this real and we can relax? or is she asleep and we have to be prepared for Freddy to jump out of the mirror?”
The concept is just so much more exciting than the other major horror franchises like Halloween or (*zzz*, ironically) Friday the 13th. There’s just so much more scope for a writer to play around with.
Allegedly this series was the main thing that kept New Line Cinema afloat for a decade.
I’ve seen some of the subsequent films before, but not all of them, I think.
Not just a TV in bed — but shoes!?!
Oh, I didn’t realise until just now that it’s Johnny Depp. His first role?
Very ergonomic.
The 80s was a more … hopeful time, I guess? People in horror movies at the time often take a totally rational approach to what’s happening, try to work out the rules and vanquish the evil. (See Poltergeist, for instance.) I think that in most recent films of this ilk, we just see people crying, running around, and then crying some more until the film is over?
It’s a pretty good movie. I’m never sure how to throw the die on horror films like this — I mean, it’s not a “good movie”, but it’s a good horror movie. Let’s go with:
A Nightmare on Elm Street. Wes Craven. 1984. ⚄
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