Breckin Meyer

Freddy’s Dead: The Final Nightmare (1991, Rachel Talalay), the home video version

For the first third of Freddy’s Dead, I blamed Lisa Zane’s bad performance on Talalay’s truly awful direction and Michael De Luca’s lame, if enthusiastic, screenplay. During the middle third, when the film flips between exposition and poorly done dream sequences, I started to change my mind. Not in the positive; Zane never connects with the character’s place in the film. When Zane’s shooting Robert Englund’s Freddy with a crossbow, it’s supposed to be funny. But Talalay can’t direct absurdist humor, De Luca’s absurdist humor isn’t actually funny, and Zane isn’t playing for the joke. It’s a lame joke, but it’s a joke. And no one gets it. Unless the point of Freddy’s Dead is to be a complete misfire, in which case, mission accomplished.

After watching the film–for something like the fourth or fifth time, I saw it in the theater–I discovered I was watching a home video version, approximately ten minutes shorter than the original release. I assume they cut out character development. It probably would’ve been bad character development, but it might have at least made the film seemed like it was trying. Talalay can’t do anything. She’s not good at anything, at least not when it comes to presenting it to the audience. The sets are cool–C.J. Strawn’s production design, if one considers the absurdism of the script, should work a lot better than it does.

Englund’s bad, but he’s clearly aping for the camera. De Luca moronically does a character arc for Englund–the boogyman explained, over and over–and Englund visibly doesn’t know how to play some of those scenes.

Yaphet Kotto is okay for a couple of his early moments, when it seems like he might go all Parker on Freddy Kruger. By the end of the movie he’s bad, but because he’s still around and De Luca and Talalay don’t have anything for him to do.

I wonder if the original version is better or worse. It’s not like more time with any of the characters seems like a good thing. Though Shon Greenblatt at least improves throughout. He’s awful at the beginning and almost likable by the middle. Almost.

Freddy’s Dead: The Final Nightmare’s bad. It’s often amusing in its badness–until the finale, when Zane puts on her 3D glasses (as does the viewer) and it just gets protracted. Englund and Zane don’t have any chemistry. He’s trying desperately, she’s not trying at all. A better performance by Zane in the last act would have helped a lot.

Maybe it is more appropriate for it to fail on all levels, over and over again.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Rachel Talalay; screenplay by Michael De Luca, based on a story by Talalay and characters created by Wes Craven; director of photography, Declan Quinn; edited by Janice Hampton; music by Brian May; production designer, C.J. Straw; produced by Robert Shaye and Aron Warner; released by New Line Cinema.

Starring Lisa Zane (Maggie), Yaphet Kotto (Doc), Lezlie Deane (Tracy), Ricky Dean Logan (Carlos), Breckin Meyer (Spencer), Shon Greenblatt (John Doe) and Robert Englund (Freddy Krueger).


Kate & Leopold (2001, James Mangold)

I unintentionally watched the Roger Ebert cut of Kate & Leopold. I originally saw it at a sneak preview with the plot intact. Ebert saw it around the same time and threatened to complain or whatever if they didn’t cut it.

It works all right, but the original cut is available on DVD. I thought that version is what I’d be watching.

But it wasn’t.

It’s a perfectly fine romantic comedy.

Hugh Jackman and Liev Schreiber are way too good for it. Schreiber’s performance is fantastic, of course. Jackman’s continuing his development into this romantic leading man–that role never really took off for him. His most popular role, for female audiences, is Wolverine. That Wolverine movie, over half the audience opening weekend was female.

It seems kind of natural to stick him in a Meg Ryan movie . . . I guess. Except this one’s a post-Russell Crowe Ryan movie, after she’d lost her luster.

It’s amazing how little work goes into making her a character, other than her being Meg Ryan. It’s upsetting–comparing Innerspace Ryan to this film–it’s this watered down version.

Mangold does a good job directing. His script’s long, with too many characters.

All the acting’s good except Bradley Whitford, which is because they cast him as a nasty Adventures in Babysitting Bradley Whitford role . . . only after he was Josh Lyman Bradley Whitford, which doesn’t make any sense.

Breckin Meyer’s good in it.

It’s fine. One should, if possible, see the director’s cut.

But it is long.

1.5/4★½

CREDITS

Directed by James Mangold; screenplay by Mangold and Steven Rogers, based on a story by Rogers; director of photography, Stuart Dryburgh; edited by David Brenner; music by Rolfe Kent; production designer, Mark Friedberg; produced by Cathy Konrad; released by Miramax Films.

Starring Meg Ryan (Kate McKay), Hugh Jackman (Leopold), Liev Schrieber (Stuart Besser), Breckin Meyer (Charlie McKay), Natasha Lyonne (Darci), Bradley Whitford (J.J. Camden), Paxton Whitehead (Uncle Millard), Spalding Gray (Dr. Geisler) and Philip Bosco (Otis).


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