Several people are hunted by a cruel serial killer who kills his victims in their dreams. While the survivors are trying to find the reason for being chosen, the murderer won't lose any chance to kill them as soon as they fall asleep.
Tommy Jarvis goes to the graveyard to get rid of Jason Voorhees' body once and for all, but inadvertently brings him back to life instead. The newly revived killer once again seeks revenge, and Tommy may be the only one who can defeat him.
A new family moves into the house on Elm Street, and before long, the kids are again having nightmares about deceased child murderer Freddy Krueger. This time, Freddy attempts to possess a teenage boy to cause havoc in the real world, and can only be overcome if the boy's sweetheart can master her fear. Written by
David Thiel <firstname.lastname@example.org>
Had this film failed, New Line Cinema might not have survived. The movie hit big enough to finally give the studio some cash flow, and in the following years, New Line Cinema rode the Elm Street train to further success, had a hit with another horror franchise (Critters (1986)), cranked out John Waters' movies, and turned into both a respectable and profitable mini-major during the 90s. However, all of that was uncertain back when this film was being made. Studio head Robert Shaye micromanaged every aspect of the production, regularly confusing crew members by stepping over the line and offering orders which should have come from the director. That led to an understandably uneasy relationship between Shaye and Jack Sholder. On top of this, the production was remarkably rushed, slotted for a November 1, 1985 release date, when the first film had only been released on November 9 of the previous year. As a result, tensions were high, the hours were long, and the work was hard. There was no real time to stop and second guess the direction of the franchise. In the Never Sleep Again documentary, Robert Englund recalls several moments during filming, such as the pool sequence where Freddy appears to teenagers outside of their dreams, where he struggled with playing the part, because so much of it felt like it was going against the rules set in the first installment. See more »
In A Nightmare on Elm Street, Nancy's front door was blue, but in this movie, it is red. No one has been living in the house, so it seems unlikely the door would have been repainted. See more »
Boy on Bus:
[a student tells another student to turn his boombox down by throwing a paper at his head]
Turn it down!
See more »
The opening scenes of this film are very promising. The title music has a very sinister, menacingly calm quality to it and there is an excellently nightmarish sequence in a school bus which is driven by Freddy.
But generally the film is a might-have-been. True, it has its moments, such as the discovery of Nancy's diary and the scene at the party, but things are pretty tame compared to the first film. Jesse is the new teenager living in Nancy's old house and haunted by nightmares, but apart from the opening sequence there are very few dreamlike effects. There are some nightmarish animals but they are too briefly seen and are in such total darkness that they're barely visible. The film is more of a cliched haunted house yarn than a story about nightmares. There are some interesting homosexual undertones but they are never really developed properly. There are also gaping plot-holes. After Freddy tears his way out of Jesse's body, the remains somehow return to life. The next time Freddy appears Jesse seems to be inside him. Can anyone work out what's going on?
What really lets this film down is its weak ending. Freddy and his boiler room suddenly burst into flames because Jesse's girlfriend tells him she loves him. Utterly feeble. Surely the script-writers could have come up with a better ending than this.
Not an unwatchable film by any means, but just not the sequel it should have been.
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