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A group of teenagers are terrorized by “Freddy Krueger”, an evil being from another world who gets to his victims by entering their dreams and killing them with gloves that have knife blades attached to each finger.
| Genres: |
Suspense/Horror |
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| Running Time: |
91 min. |
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| Release Date: |
November 16th, 1984 |
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| MPAA Rating: |
R |
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A Nightmare on Elm Street (Wes Craven / U.S., 1984):
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The Sandman of Reagans dozy suburbia. (”Baseball bats and boogeymen. Beautiful.”) Fred (not yet “Freddy”) Krueger (Robert Englund) is not the rubbery vaudevillian of later installments but rather a maggot-bleeding visitor from Jungs “all-uniting depths,” the undead child-killer who comes back to shred the spawn of the lynch mob who barbecued him. Return of the Oppressed and Sins of the Father? The infamous razor glove is forged during the opening credits, and put to bloody use at teeny sleepovers — high-schoolers are his victims, the “incredible body hocus-pocus” of their dreaming consciousness is his highway. Puberty wounds and exhumed parental secrets inform the journey of the heroine (Heather Langenkamp), who defends herself with caffeine and learns of Moms (Ronee Blakley) vigilante past and the dangers of falling asleep to the Bard (”O God, I could be bounded in a nutshell and count myself a king of infinite space, were it not that I have bad dreams”). The oneiric topography allows Wes Craven to traffic in particularly gutty and erudite psychosexual frissons: Metallic talons emerge between the heroines legs during bath time, a centipede crawls out of the mouth of her body bag-cocooned friend (Amanda Wyss), and, above all, a gaping mattress swallows up Johnny Depp (TV set, stereo earphones and all) only to ejaculate him out as a tidal wave of raspberry gore. “Morality sucks.” Craven builds very scrupulously on Fuseli (or is it Redon?) and arrives at the bold image of the beautiful white suburban home with barred windows, a bottomless bathtub, and a damp subterranean labyrinth for a cellar. Elsewhere, there’s Royal Wedding for Wyss slaughter, The Exorcist for Langenkamps test, and Vampyr for the ultimate awakening. The new generation is roused from its slumber, even if Krueger has the last laugh (and the unending slew of wisecracking sequels). With John Saxon, Jsu Garcia, and Charles Fleischer.
— Fernando F. Croce
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Gordon Gekko, fresh from prison, re-emerges into a much harsher financial world than the one he left.
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| Also Known As: |
Money Never Sleeps
Wall Street 2
Wall Street Sequel
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| Production Status: |
In Production/Awaiting Release |
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| Genres: |
Drama and Sequel |
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| Release Date: |
September 24th, 2010 (wide) |
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| Distributors: |
20th Century Fox
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| Production Co.: |
Edward R. Pressman Film Corporation
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| Studios: |
20th Century Fox
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| Filming Locations: |
New York City, New York, USA
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| Produced in: |
United States |
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reviews containing any of these words: Wall
Wall Street
(1987)Â
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DramaÂ
Rated:Â R
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| A hallowed text for aspiring sales sharks – as chronicled in 2000’s superior Boiler Room – Wall Street is blustery and unsophisticated, like many of the movies of Oliver Stone. It’s a cautionary tale that plays more like a recruiting video, which is why wannabe traders watch it the same way wannabe gangsters watch Scarface. The picture’s fatal flaw, however, is its cast. Charlie Sheen stars as Bud Fox, a low-level broker who idolizes shady trader Gordon Gekko (Michael Douglas) and eventually goes to work for him. This involves, of course, selling his soul, an experience Sheen ironically seems incapable of communicating. Sheen’s blankness – and occasional, awkward crying scene – is nothing compared to that of Daryl Hannah as an interior designer to the rich who snags Bud as a client (and more) as he rises to the top. Her garish displays – including animal prints and faux brick – are 10 times more expressive than anything on Hannah’s impassive face. That leaves us with Douglas, who won an Oscar for his performance and plays the part as if he were already walking up to the podium to collect his award. Douglas gets one good speech – which includes the film’s famous declaration that greed is good – yet far too often the dialogue in Wall Street doesn’t live up to Douglas’ devilish demeanor. Someone who spends this much time barking into the phone should have more creative insults to dispense than repeated threats to shove things in delicate places. |
