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.
It's nearing the 10th Anniversary of the film 'A Nightmare on Elm Street' and one of the stars, Heather Langenkamp is being scared by a voice on a phone, sounding very similar to the film's villain, Freddy Krueger. When Heather's husband is killed in a car accident and is discovered with slash marks on him, Heather starts to wonder something. Especially when she discovers that Wes Craven is writing another 'Nightmare' film. Soon, she realizes that Freddy has now entered the real world, and the only way to defeat him is to become Nancy Thompson once again.Written by
The basic premise of the film, Freddy invading the real world and haunting the actors and crew responsible for the "A Nightmare on Elm Street" films, was originally intended to be used for A Nightmare on Elm Street 3: Dream Warriors (1987), but the idea was rejected by the studio at the time. See more »
(at around 1h 18 mins) When Julie punches out the head nurse, she is knocked out cold onto the floor. The second nurse runs out the door screaming, afraid of the syringe. Somehow, the head nurse ends up outside the door trying to get inside. See more »
I think the only way to stop him is to make another movie. Now I swear to you I'll I'm gonna stay by this computer and keep writing until I finish the script, but... when the time comes, you're gonna have to make a choice.
Choice? What kind of choice?
Whether or not you will be willing to play Nancy one last time.
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Near the end of the credits reads: "Some parts of this motion picture were inspired by actual events. Others may be attributed to the overactive imagination of a five-year-old boy" ... "The names of certain of the characters portrayed have been changed to protect the innocent. Certain incidents portrayed have been dramatized. With the exclusion of those courageous individuals who portrayed themselves, any similarity to the name, character or history of any person, living or dead, is entirely coincidnetal and unintentional." See more »
Long before the critics started wetting themselves at post-modern, self-referential (and self-indulgent) shows like Extras and Arrested Development, Wes Craven beat them to it. His New Nightmare stars Heather Langenkamp and Robert Englund playing themselves in a movie within a movie written by Wes Craven playing himself writing the script as it unfolds. How Charlie Kaufman is that?
It is a terrific idea, and has Heather discovering that she, Englund and Craven have accidentally provided an ancient evil with a portal into the real world in the fictional creation of Freddy Krueger. Now that the series of movies has ended, this entity has started invading her dreams as Freddy - and it thinks if it kills "Nancy" it will be unleashed for real.
So that's the good news. The bad news is that once this premise has been laid out for the viewer, it's all downhill from there. Heather Langenkamp's acting hasn't improved with age, Wes Craven spends his time being "mysterious" (i.e. vague and annoying) and it's left to Robert Englund to save the day. Sadly, he's not in the movie as either himself or Freddy nearly enough.
It gets worse. "Real Freddy" looks even more fake and rubbery than the 80's version, if that were possible, plus the main focus of the dreamtime incursions this time is Langenkamp's young son. Now I am against child actors at the best of times, but when this bug-eyed little squirt starts screaming and yelling about Freddy, you'll just want to give him a kick.
The climax to the movie is pretty similar to every other film in the Nightmare series, which is somewhat disappointing. However, this film is almost worth it - almost - for the creepy sequence where Heather realises she's back in Elm Street for real.
Still, New Nightmare is easily the best follow-up of the series, and way more imaginative than any slasher sequel has the right to be.
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