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It’s a Wonderful Life (1946)

The one film that is brought up time and time again during Christmas time and globally known as the Christmas film to watch. Following community hero, George Bailey (James Stewart) during his highs and lows in life, we see him in the lowest moment and guardian angel, Clarence (Henry Travers) shows him what Bedford Falls would be like if Bailey was never born. Directed by Frank Capra, it’s a classic tale about the loved ones you have around you and the love you have for them in return. We follow George falling in love with the beautiful Mary (Donna Reed) which is sparked in one of my favourite scenes in film history as they sing “Buffalo Gals” and talk about lassoing the moon. So what is it about this film that makes it so well loved?

For starters, the feel-good nature of the film is perfect for family viewings, especially around Christmas time. Another appeal is the film’s fearlessness in exploring darker themes such as capitalism, the loss of the American Dream and death by suicide. George Bailey isn’t portrayed as more than the ordinary American man. He is a character of high moral character and this makes his fall from grace even harder to stomach. James Stewart is remarkable as Bailey in what has become the definitive Stewart performance. Albeit a bit awkward when portraying a younger Bailey as he looks so much older but he pulls it off because Bailey himself is a man who is older than his years. Bailey hasn’t been blessed with an easy life as he loses his father at a young age and is forced to take over his father’s business instead of travelling but he takes to it and thrives. His wife, Mary (Donna Reed) does well to keep him grounded and motivated. She has her own strength as she is unafraid to stand up for what she believes in. Mary isn’t as straightforward as the audience would believe. She has a complexity about her when she disappoints her mother by marrying George rather than the successful Sam Wainwright (Frank Albertson) or when she has to deal with remaining in Bedford Falls as George gives their Honeymoon funds away to avoid the bank’s closure. There is a lot of pressure on Mary to support both her husband and the family home, especially in the midst of a crisis. Even when George is angry, she refuses to let him get away with it while at the same time remaining composed and compassionate.

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Onto the sidekick side of things, Henry Travers captures Clarence’s purity perfectly. From his fascination with the stories of Mark Twain to his inability to mask his angel status, Clarence is a beloved character in film. In a community where George is seen as a guiding light, it is only Clarence that can save him from himself. Clarence is completely sympathetic and importantly empathetic with George’s problems. The audience watches the life of George Bailey through the eyes (literally and figuratively) of Clarence. With every classic hero there has to be a villain. This comes in the form of Mr. Potter (Lionel Barrymore) who owns nearly every business in town as well as a large portion of property, meaning that he owns its residents also. He is a depiction of the greed and capitalism that prevents the American Dream and leaves those who long for it struggling for the rest of their lives. He is a miserable old man with no family and friend and is only surrounded by his employees. Where George sees friends, Potter sees customers.

There is something nostalgic about watching this film. Not simply from watching it a thousand times since I was small, but something distant about the simple way of living in Bedford Falls. At its heart, It’s a Wonderful Life is in itself a simple film but it is only made complex when those who dare to dream almost thrive and are then shot down. The lovely touch of including Clarence, an angel who has yet to earn his wings, brings in a bit of magic while Capra’s clever direction keeps the magic to a minimum in a bid to make the film as real as it can be. In some ways, his vision of Potter is reminiscent of Scrooge in A Christmas Carol before he is visited by ghosts. It’s just as beautiful in black and white as well as colour, it will always leave you in tears of laughter and sadness.

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What It’s a Wonderful Life does so well is its neutrality in portraying the ordinary American life but showing the extraordinary achievements that a community can make together. It’s a film about the importance of family, being loved and loving others. There are many aspects from the film that could be brought through to today such as Potter’s ideals. It could be argued that most people live in Pottersville in this day and age. In a time of great challenge, it is nice to watch a film that shows people overcoming the odds. It’s a film that can never date because its a film about humanity and the chasing of dreams. I would forever argue that this is the best Christmas film because there is no grandeur in it and no attempt to be a big shot and big budget superstar film. It is a humble story of how one man’s life touches that of his family, friends and the community at large. George is a small piece of a much larger puzzle and it is only when he realises his own self-worth that he recognises the ability to pull the community together to stop Potter from destroying the town with greed.

What do you think about It’s a Wonderful Life? Let me know in the comments below!

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A Nightmare on Elm Street Ranking

If you had to ask me what my favourite horror franchise is, I would say A Nightmare on Elm Street with no hesitation. Home to Wes Craven’s iconic slasher villain, Freddy Krueger, a dream-haunting nightmare with knives for fingers on one hand. He’s disgusting and terrifying and doesn’t let his victims die easily. The first film was released in 1984 and has seen multiple sequels, a reboot and even a feature mashup with another certain horror icon. They’re not to everyone’s taste due to their extreme violence and inappropriate content but as a horror fan, I find them fun to watch. Kruegar is the first truly charismatic slasher to come from this genre as Jason and Michael Myers silently stalk and kill their prey. Freddy on the other hand likes to torment his victims and is constantly making grim jokes about their pending demise. Wes Craven has always been a skilled filmmaker but he really reached his peak with this creation. It’s brilliant and crosses the line between horror and humour. This makes the films entertaining and, dare I say, enjoyable to watch.

Now I’ve already done a ranking for the Child’s Play and Final Destination films which you can read here and here, respectively, but I thought it would be fun to look at this franchise as a whole and see where the films would slot from best to worst.

Without further ado, let’s delve into the nightmare and get on with the reviews:

A Nightmare on Elm Street (1984)

The one that started the nightmare. A Nightmare on Elm Street is a pioneer in the slasher genre, coming after Halloween (1978) and Friday the 13th (1980). Spearheaded by horror legend, Wes Craven and featuring Robert Englund as the gruesome killer, Krueger, we are plunged into a world that sees the teens of Elm Street slashed to death one by one. The film is widely known for its explicit violence, paedophilic themed subtext and also marked Johnny Depp’s film debut. A group of teens start being killed off one by one, apparently by a badly burned man with knives for fingers. Led by Nancy Thompson (Heather Langenkamp), the group work together to trap and kill the monster. It’s an iconic film. Even if you haven’t heard of it, you know what Krueger looks like and the basic premise of the film. Nancy is a brilliant protagonist and just like Laurie Strode in Halloween franchise, she is fearless when needed. It’s strange to think that a genre associated with the subjectification and glorification of violence towards women (which is a completely legitimate issue) also provides such progressive roles for women as well. There’s a humour in this film that you don’t really see in other slashers that would set a trend for franchises like Child’s Play and the sequels for Friday the 13th which purposely become weirder as the films went on.

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A Nightmare on Elm Street 2: Freddy’s Revenge (1985)

It’s no secret that I love camp horror films. I love a film that isn’t afraid to be highly satirical of itself and the genre. Despite only being released a year before, Freddy had become somewhat of a titan of horror. A sequel was rushed through with no involvement from Craven and the result is the polar opposite of its predecessor. The film follows the Walsh family who move into the Thomson family home five years after Freddy’s initial defeat. Teenage Jesse (Mark Patton) is struggling to fit in and finds himself getting into fights with his peers at school but his world is quickly flipped when the people who . The film has become a cult classic among fans and is known for its homosexual undertones with Englund himself declaring it a “bisexual film”. There is a strong argument to suggest that Jesse’s inability to fit in is due to his conflict with his own sexuality. The big issue that I have with this film is that it flips Freddy around to be the hero. When he’s bullied by a group of partying teenagers, the audience sympathises with him. This sentiment was shared by Craven himself who stated that Freddy should be “threatening and overpowering” which I think was missing. Freddy becomes a punchline in this feature rather than a genuine threat.

A Nightmare on Elm Street 3: Dream Warriors (1987)

This sequel does not get enough love. Coming off the failure of the previous installment, Dream Warriors is a brilliant addition to the franchise. It’s known among fans of the franchise that this film is fantastic but not as well known to horror fans in general who truthfully are missing out. Following a group of young people in a psychiatric ward, we see Freddy messing with the minds of these vulnerable individuals and watch as their pleas are quashed by the doctors and other authorities figures. The film marked Patricia Arquette’s film debut as Kristen Parker, a young teen who is chased in her dreams by Freddy who then cuts her wrists which looks like a suicide attempt to her mother who swiftly commits her to Westin Hills psychiatric hospital. She teams up with a group like her who have had nightmares of the same man and soon they are killed one by one. Calling themselves “dream warriors”, they plan to use their weaknesses as strengths to quash Freddy’s murderous attempts. The film also marks the welcome return of Heather Langenkamp as Nancy who has grown to be a psychiatrist, inspired by the events of her childhood. This film features some of the best death scenes in the franchise and sees Craven taking control of his franchise once again.

A Nightmare on Elm Street 4: The Dream Master (1988)

The film follows the remaining survivors of the third film (Tuesday Knight taking over the role of Kristen Parker) after they have been released from the psychiatric unit one year later. Kristen is still haunted by what happens and Freddy returns to cause havoc on the survivors and their school friends. This is where the films start to play the same routine and becomes more repetitive but trying to make the death scenes as ridiculous as possible. There is even a death where one of the girls is turned into a cockroach and squished! It’s still a good popcorn flick but largely unoriginal. This film also features Lisa Wilcox as new protagonist, Alice Johnson, who takes the helm as scream queen for this segment after befriending Kristen. I like the aspect of bringing someone else into the dream which is continued from the third film into this one. Freddy uses Alice to lure him to her friends who he starts to pick off one by one, including a horrific death involving her asthmatic friend. This installment was the highest grossing the original franchise and kept it that way until 2003’s Freddy vs. Jason so it was a huge hit with audiences.

A Nightmare on Elm Street 5: The Dream Child (1989)

The fifth film follows Alice (Lisa Wilcox) who is still haunted by the events of the fourth film. The opening scene throws us immediately into the dream world as we see Alice as Amanda Krueger, a nun who works in a men’s psychiatric ward who is subsequently raped by masses of inmates when she is accidentally locked among them. She has a second nightmare that sees Freddy as a baby digging up his remains from the fourth film and brings him back to life. After Alice’s boyfriend, Dan (Danny Hassel), dies tragically, Alice is convinced that Freddy is back which is swiftly followed by the revelation that she is pregnant and Freddy subsequently starts to give the unborn baby powers so he can be more like him. There is a lot going on in this film and the more I think about it, the more confused I become. There’s the usual plotline of Freddy killing teenagers then the subplot of Alice’s pregnancy and then there’s the second subplot involving Freddy’s origins. It’s a lot to cram into one film and naturally the film fails because of it.

Freddy’s Dead: The Final Nightmare (1991)

This installment is by far my least favourite. If you thought the previous film was overcomplicated then you’re not prepared for this one. Freddy has killed all the kids and teenagers in a small town and seeks out the one survivor to bring more teens to kill. There are so many questions that come to mind regarding the cannon and where this sits in the universe as there is no reason for his reincarnation from the last one. The adults in the small town have gone insane and there is definitely a strange Twin Peaks tone that they are going for that fails spectacularly. This is probably the rock bottom for the original franchise and seems to just be a money grab rather than a genuine passion project. It also features a cameo from Johnny Depp and a bizarre cameo from Roseanne Barr who plays one of the deranged townspeople.

Wes Craven’s New Nightmare (1994)

This film takes place outside the universe and is a unique experience as it is very meta. Following the making of a new film, Freddy breaks out and starts killing the cast and crew. Featuring a return from Heather Langenkamp and with many of the other parts played by cast and crew. Wes Craven returned for the project and the great thing is that it seems like everyone is genuinely having fun. It’s a shame that this film had become largely forgotten as it is a great addition to the franchise. It’s to Craven’s credit that he is always trying to think of something new while still being faithful to the originals. The Freddy in this film also goes back to darker routes and becomes less comical than the last few installments.

Freddy vs. Jason (2003)

This film is one of those that is so bad it’s great and I love it. Freddy resurrects Friday the 13th villain, Jason Voorhees in a bid to scare the residents of Elm Street while they’re awake so he can kill them while they sleep. Soon enough, Jason starts going on a killing spree which angers Freddy and the two become embroiled in a feud that brings a huge body count. It’s a fun film that ventures on the wackier side and also serves up a variety of stereotypes in an ironic way such as the resident stoner and drunk partying teens. The film is the last to feature Englund as Krueger and stars Ken Kirzinger as Jason. It’s a shame they didn’t follow this up with a sequel as it would have been great to see what more they can do with this universe cursed with this villains. It’s not a great film by any means but it’s a fun popcorn flick. I think what makes this film so enjoyable to watch ishat it isn’t afraid to poke fun at itself and be completely bonkers.

A Nightmare on Elm Street (2010)

This is one of those rare films where I go against the grain a little bit. This film was (rightfully) torn apart by critics like one of Freddy’s victims despite its commercial success. It is equally hated by fans and despised so much that they didn’t even bother making any sequels for this reboot. It’s a rehash of the first film with newcomer Rooney Mara filling the boots for Nancy Thompson. The reason I go against the grain is that I am one of the few people who actually enjoyed this reboot. Don’t get me wrong, it doesn’t hold a candle besides the original at all but I thought it was an interesting take in bringing up the darker themes that couldn’t be discussed in the original, mainly Freddy’s paedophilic nature. I think Jackie Earle Healey is one of the most underrated actors working today and his performance is a darker take on Englund’s Krueger. I understand why his performance wasn’t well received because the humour and charisma is what differentiates Kruegar from other slasher villains. Also, Mara is one of my favourite actresses working today and this is the film that properly introduced me to her (aside from The Social Network but that was a small support role). I thought that the darker tone was an interesting aspect to explore but I do think ultimately the film suffers because of this and becomes just another horror film.

So that’s all of the reviews done and dusted. I am not sure if they’re going to create anymore, especially since Craven has since sadly passed, but it would be intriguing to see how they would reintroduce Freddy in this new revolutionary climate.

Here is my ranking:

1) A Nightmare on Elm Street (1984)

2) A Nightmare on Elm Street 3: Dream Warriors (1987)

3) A Nightmare on Elm Street 4: The Dream Master (1988)

4) A Nightmare on Elm Street 2: Freddy’s Revenge (1985)

5) Wes Craven’s New Nightmare (1994)

6) Freddy vs. Jason (2003)

7) A Nightmare on Elm Street 5: The Dream Child (1989)

8) A Nightmare on Elm Street (2010)

9) Freddy’s Dead: the Final Nightmare (1991)

What do you think? Which one is your favourite? Let me know in the comments below!

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Sorry to Bother You (2018)

Another film that I have been meaning to see since its release, Sorry to Bother You is a brilliant study of capitalism in modern day America. Written and directed by Boots Riley in a fantastic debut, we follow Cassius “Cash” Green (Lakeith Stanfield) as he starts a career in RegalView, a telemarketing centre and his rise to the top after using his “white voice” to appeal to white middle-class America. His friends at RegalView, Squeeze (Steven Yeun) and Salvador (Jermaine Fowler) start a union to get basic benefits as the workers only receive commission. Cash quickly becomes a “Power Caller” and is taken to the top floor where he is tasked with selling slave labour on behalf of corrupt company, WorryFree, to large corporations around the world. In a society where money talks, we see Cash’s struggle intensify as he has to choose between security and his relationship with his girlfriend, Detroit (Tessa Thompson). The film flits between genres flawlessly, drifting from comedy to drama to science-fiction in a matter of seconds. It’s refusal to slot into a specific box and the ability to feel relevant shows Riley’s talent for screenwriting. There is so much going on in this film that adds layers and layers of subtext and it’s a testament to the racist and classist struggle that underlies modern society.

First thing to discuss is the direction and script. Despite the film being his directorial debut, Riley brings a film that looks as though he has done this for years. His vision is crystal clear right down to the colours of the doors. The film opens on Cash’s interview at RegalView as he attempts to blag his way to the entry job. He unsuccessful carries out a flamboyant lie which sees him take a huge trophy and employee of the month frame that he had made to make himself seem more impressive. From the get go, Riley establishes Cash as someone who is willing to do what it takes to achieve the American Dream. The capitalist aspect of this film is at the forefront but there are the racist undertones which are made more explicit as Cash finds himself among a rich, white society. Even at the point when he has achieved more than his colleagues on the bottom and top floors, he is still viewed as an outsider.

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This brings me onto the cast who all do a brilliant job, particularly Stanfield and Thompson. The chemistry they have is so natural and the audience feels the intensity when the relationship becomes strained. Cash’s conflict with identity and finding a purpose is one that resonates with a lot of people. He doesn’t fit in with any particular group of people and any stereotypes that society has of black people don’t fit at all. Detroit is an artist who is certain of her identity and has a clear view of the world. There is a literal divide for the characters as the morally sound people populate the bottom floor and live for pennies and the corrupt group working upstairs live extremely privileged lifestyles. We see in a matter of seconds Cash’s life shift as the material items are replaced more luxurious goods such as his car. The film’s dynamic editing is quickfire and snappy to portray the large scale changes that money can make. These material items and the apartment Cash buys detaches him further and further away from his friends. He soon begins to use his “white voice” without realising as his work persona starts to take over and change his personality. 

The point of view in the film is fairly radical in its ideas and the issues it raises are important. We see a Leftist group attempt to fight a large corporation who deal with trading weaponry and slave labour to other countries. Modern society looks at the history of slavery with disgust and yet those at the top are competing to have a slice of the pie when WorryFree’s plan for slave labour piques the interest of the powerful due to low cost and high productivity. Riley is quick to remind the audiences that the problems society had in the past haven’t truly gone away and that it merely embarks a different and more modern disguise. The idea of the call centre and sticking to the script literally brainwashes its employees and forces them to conform to an ideal that fits a white middle-class America. The Leftist group are made to look wild and are even mocked when they throw cans at the staff who try to enter the building with one particular can hitting Cash and giving him a huge cut on his head throughout the film. The wound becomes symbolic of his betrayal to the cause and the physical and metaphorical damage that has been caused by his willingness to partake in the selling of slave labour.

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Overall, this is a very strong film with a clear point of view that is important and relevant. It’s a shame that this didn’t get a wider release as I think this is a film that explores difficult themes in a unique way that pushes boundaries in a similar way that Get Out did.

What did you think of Sorry to Bother You? I’m assuming it’s positive because the film is bloody incredible! Let me know in the comments below!