Awesomely Shitty Movies: A Nightmare on Elm Street 4 - The Dream Master

Welcome to another Awesomely Shitty Movies, here at Enuffa.com, where I pick apart the finer and lesser points of a piece of escapist cinematic entertainment and usually end up pissing someone off.  Following up our last installment about A Nightmare on Elm Street 3, let's take a look at its sequel, the Renny Harlin-directed romp, A Nightmare on Elm Street 4: The Dream Master!

Nightmare 4 is the only episode of this series I saw in the movie theater, it having been released just before my thirteenth birthday.  I was old enough to convince my mom to take me to see it, and surprisingly she was pretty entertained by it.  My initial take was, "best of the series."  I loved the mix of horror and humor, I loved the idea of Freddy meeting his match in the dream-superpowered Alice, I loved the stylized look and special effects.  This film was everything a thirteen-year-old Freddy fan could want.

The fourth film in the series picks up a year after Nightmare 3.  The three survivors from that movie, Kristen, Joey and Kincaid, have been released from their group home and are back in high school, seemingly having moved past their shared trauma.  But Kristen begins dreaming once again about Freddy's house and boiler room and is convinced he's returning.  Joey and Kincaid don't agree, and begin to resent her for continuing to pull them into her dream.  Of course Freddy does return after being resurrected when Kincaid's dog pees on his grave, and he swiftly gets revenge on the last three Elm Street children.  But before her death, Kristen bequeaths her dream gifts onto her friend Alice, whom Freddy uses to pull other kids into her nightmares so he can continue killing.  Alice then must absorb the personality traits of all her friends and become a Dream Master so she can go toe-to-toe with everyone's favorite burned dream murderer.

By this point in the series things had become quite outlandish and comic booky, with Freddy's exploits leaning more toward dark comedy than pure horror.  This film doesn't quite veer into camp, but it definitely completed a four-film tonal shift from the original, before the fifth film returned to a darker feel.  On one hand you have to respect Renny Harlin's gleefully cartoonish take on this material, on the other hand you do miss Freddy being actually scary.  Let's take a look at what holds up and what doesn't, about Nightmare 4....


For our ASM article about Nightmare 3, click HERE



The Awesome


Alice

Probably the best thing about Nightmare 4 is the newly introduced character of Alice Johnson, in a dynamic, robust performance by Lisa Wilcox.  Unlike most horror protagonists she's given a real dramatic arc, going from mousy and awkward to confident and resilient, as she assimilates her friends' abilities after they die.  Alice is the daughter of a widowed, domineering, alcoholic father, who's trampled on her for so long she's all but retreated into herself (One nice touch is the use of Alice's mirror - she has it completely covered with photos of her friends because she doesn't like to look at herself, but at the end she takes all the photos down and embraces who she is).  But throughout the movie she keeps gaining strength, standing up to both her father and Freddy (metaphors, man).  This arc actually feels very relevant in 2019 and I couldn't help noticing how ahead of its time it was.  While the choice to totally shift to a new main character was jarring, they found in Alice a very relatable character with some nice dramatic substance to explore.  Her growth into the moniker of Dream Master also put Freddy on the defensive for the first time in the series, and Alice went on to be the only protagonist to survive two films.  As Sandra Bullock so eloquently quipped in Demolition Man, "He's really matched his meet.  You really licked his ass."

You go get him, Alice!

Nice Kids

One thing I found really refreshing about Nightmare 4 is the fact that the group of kids (with whom we actually get to spend some real time before everything goes to shit, unlike in Nightmare 3), despite being very different social types (Alice is a shy doormat, Rick is athletic martial arts enthusiast, Debbie is a fitness freak/rocker chick, Dan is a football star, Sheila is an asthmatic science nerd), they all genuinely like each other.  There's no stereotypical high school bullying or cliques in this movie.  While that might not be the most realistic approach, it's something different for a movie about teenagers and since they're all likable we care what happens to them.  Nice people are more fun to spend time with.

The kids are alright.  In this movie.

Direction

Where Nightmare 3 was directed by a first-timer without much confidence or visual pinache, Finnish director Renny Harlin had a very clear vision of what he wanted to do, and a keen eye for dramatic, unique visuals.  He's really more suited as an action director, as his later work in Die Hard 2, Cliffhanger and The Long Kiss Goodnight would illustrate.  But his unconventional approach allowed Nightmare 4 to look and feel different from its three predecessors, giving the film a sense of kinetic visual excitement Nightmare 3 lacked, and taking the comic booky aspect of Dream Warriors to the next level.  Harlin also contributed to last-minute script changes, as the film was produced during the 1988 Writer's Strike; considering the scrambling most of it turned out pretty well. 




Effects

Like Nightmare 3, the special effects here look great, even more polished thanks to a considerably bigger budget ($13 million compared to $5 million).  Freddy's resurrection is one of the film's highlights, as his skeleton literally grows muscle and flesh before our very eyes (think Toht's melting face in Raiders of the Lost Ark but played in reverse).  Another is the nod to David Cronenberg's The Fly, when Debbie's human form molts off her body and she turns into a cockroach.  Still another is Freddy's ultimate demeez, when the faces and hands of the children he's murdered reach out of his body and begin tearing him apart from the inside.  These are all fantastically well-executed effects that further add to the series' pedigree.

Dream Sequences

Along those same lines, the dream sequences are creative once again.  I'd say Nightmare 3's nightmares were overall more imaginative, but this stuff is nothing to sneeze at either.  The three aforementioned moments are all great, as is Alice's scene in the old-time movie theater where she gets pulled across the auditorium and into the screen.  There's also Sheila's death scene, where Freddy literally sucks all the air out of her body, and Joey's death, wherein the sexy model from one of his posters transports into his water bed before morphing into Freddy and pulling him under, after which Joey's mother then finds him drowned inside the waterbed.  So while the Freddy scenes aren't quite as neat as in the previous film, they're still pretty creative and fantastical.  The one real miss is Rick's karate-themed death, where he has to fistfight an invisible Freddy (a last-minute change from an elaborate elevator sequence which was cut for budgetary reasons).  But they can't all be good, can they?

Freddy doing his impression of a Dyson....

Robert Englund

As with every good Nightmare movie, Robert Englund is one of the reasons this one works.  The role of Englund's career, in this film almost bordering on anti-hero, is the claw-wielding maniac with the burned-up face.  The screenwriters veered a little too far into Arnold-esque bad comedy in this film - Freddy's dropping bad jokes like an unfunny dad this time - but Englund as always brings it to life with a mix of menace and levity.  Oh, and unlike in Part 1 and 3 his vocal timbre is consistent throughout!

Dat's a spicy meat-a-ball.

Alright I've said enough nice things.  Time to complain about some shit....




The Shitty


Tuesday Knight

Sorely missing from this film is Patricia Arquette as Kristen Parker.  Arquette was offered a handsome salary to reprise her role as the main protagonist from Nightmare 3, but turned it down because she wanted to avoid being typecast in horror roles.  Unfortunately she was hastily replaced by an actress who looked, sounded and talked nothing like her, in Tuesday Knight.  Knight's performance isn't so much bad (though she has some amateurish moments) as it is distracting.  Never once did my brain accept her as the same person Arquette played.  She was just some other teenager with the same color hair and the same friends.  Recasting a major character is tough; if you're gonna do it you have to make sure the performances match, and this one doesn't.

Who the hell are you and what did you do with Kristen??

Soft Reboot

One thing I've never been a fan of in sequels is when a character (or in this case three) survives a horrific ordeal in one film only to be neatly and efficiently killed off early in the next (see Alien 3).  It strikes me as near retconning; why did we watch Kristen, Joey and Kincaid muscle through Nightmare 3 if they'd all be dead in the first thirty minutes of this movie?  The first act of this film too often feels like we're rushing to get the old characters out of the way so we can get to Alice.  I get that we needed to transition to a new main character, but couldn't it have been handled more gracefully?  Or couldn't Lisa Wilcox simply have been cast as Kristen and gone through the same arc Alice did?  What if Kristen is now mousy and shy after spending months at a psychiatric ward and nearly being killed by a dream boogeyman?  And then her last two friends from that ordeal die, along with the new friends she's made, and she's forced to grow from Dream Warrior into Dream Master (They could even have her absorb the other Dream Warriors' powers like she takes on the traits of her new friends)?  Wouldn't that have worked just as well?  She'd still have the power to pull other people into her dream and inadvertently expose the new characters to Freddy's shenanigans, right?  Then it wouldn't feel so much like the producers were just starting over with this franchise and it would tie more closely into the events of Nightmare 3.




One-Liners

I mentioned earlier that Freddy was rewritten here as a pun and slogan machine, and unfortunately his penchant for lame jokes undermines his value as a horror villain.  It was Renny Harlin's mindset that after three films audiences wouldn't be scared of Freddy anymore, and in fact they'd sort of be rooting for him because he's such an entertaining character.  But I think they took that philosophy a bit too far in giving him a cheeseball one-liner every time he murders someone.  Some of them are Schwarzenegger in The Running Man-bad.  Just before Freddy kills Kristen and dares her to bring a friend into her dream - "Why don't you reach out and cut someone?"  When he meets Alice for the first time - "How sweet. Fresh meat."  When he shows up in Debbie's basement as she's lifting weights - "No pain, no gain."  When he traps Debbie in the roach motel - "You can check in but you can't check out."  When he confronts Alice in the diner - "If the food don't kill ya, the service will."  It's too much, jokester, tone it down.     




Freddy's Downfall

As I said before, it was very cool to finally see Freddy tangle with someone who could go toe-to-toe with him.  However I feel like Alice had it too easy.  They have a brief physical tussle, Freddy gets the upper hand, and then Alice remembers the Dream Master rhyme about evil seeing itself and dying, grabs a broken piece of stained glass window, and shows Freddy his reflection.  This causes the souls of all the children he's killed to rip him apart from the inside.  As I mentioned, I liked the effect of the arms pulling out of him, a very cool visual, but it felt like Alice arrived at this solution too quickly, and the idea of showing evil its own reflection is never built up to.  This rule is just introduced at the last minute.  Just seemed like this moment could've felt more earned.

Freddy's soul inbox is full....

Nitpicks

-As cool as Freddy's resurrection sequence is, something about it doesn't make any sense.  At the end of Nightmare 3 Freddy's physical remains are physically buried in a physically-consecrated grave, causing the nightmare version of Freddy to disintegrate.  But then in this movie Kincaid falls asleep and in the dream finds himself in the junkyard where Freddy's buried, and his dog Jason (hardy-har) pees on Freddy's grave, which resurrects him.  Umm, if Freddy's bones are buried in the real world, shouldn’t the dog peeing on the grave have to happen in the real world for Freddy to come back?  He's still buried in hallowed ground in real life, right?

-Did Kristen and her mom move to a new house in the last year?  Her room doesn't look a thing like it did in the previous movie.

-Wow Kristen’s mom is an insensitive bitch huh?  At dinner Kristen isn't eating and her mom goes "Something the matter with the cuisine?"  Kristen replies "When two of your friends die in the same day, let me know what it does to your appetite," and mom goes "You're just tired."  Really ma?  Literally every friend this girl has ever had is dead, and your response is to tell her she's just tired?  Know your audience, ya douche.  Under the circumstances I think Kristen's holding it together like a fuckin' miracle.

-The classrooms in this film are lit like a film noir.  I ain't never been in a classroom like that.  Do they allow smoking and crooked fedoras in this school?

-Debbie's death scene is one of the best in the movie, but there's just one problem.  Debbie isn't asleep when Freddy shows up - she's working out.  So how does anything in this scene even happen?  Did Debbie fall asleep mid-rep?

Who falls asleep while weightlifting?

-Near the end of the film Alice and Dan go after Freddy in Dan's truck, and Alice rams him.  But it turns out that was just in the dream, and in the real world they collided full-speed with a tree.  Dan is rushed to the hospital but somehow Alice is totally fine.  Umm, they'd both be fuckin' vegetables after that crash with no airbags in the truck!

-Anyone catch the references to Wes Craven's The Serpent and the Rainbow or James Cameron's Aliens?  Freddy's first line after being resurrected is "You shouldn't have let them bury me, I'm not dead," and late in the movie Alice says to Freddy "Get away from her, you son of a bitch!"  Not a nitpick, just a nice pair of Easter eggs.



Conclusion

The first four movies in this series are hard for me to rank definitively.  I like aspects of all of them but parts of each don't hold up so well in retrospect.  If you took the best bits of each film you'd have a damn near perfect Nightmare movie.  But I guess that's what's so fascinating about this series - every film is different.  Like the Alien movies, each director put his own stamp on the material, and since Freddy is a surrealist villain the rules are whatever you make them.  Nightmare 4 is the film that made Freddy almost an action-adventure villain, tossing out one-liners and relishing his own evil.  Renny Harlin's kinetic signature style is handled with such unapologetic confidence it's easy to get wrapped up in it and overlook the elements that don't work so well.  This film is a horror comic book, not scary but exhilarating, and features maybe the most interesting lead protagonist of the series.  Alice is a unique invention in the pantheon of slasher films, a young woman who goes from mousy pushover to badass hero, defeating the demon all on her own and getting the hot, popular jock at the end.  If nothing else you have to respect how ahead of its time this film is.


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Awesomely Shitty Movies: A Nightmare on Elm Street 3 - Dream Warriors

Welcome to another Awesomely Shitty Movies column here at Enuffa.com, where I take another look at a childhood favorite and talk about why parts of it don't hold up and in some cases make me cringe.  Some of you will probably hate me...

It's Halloween season, so I'm watching a lot of horror movies, and today I'm revisiting a classic of the cheesy 80s horror genre, A Nightmare on Elm Street 3: Dream Warriors!  I came by this series just as this film was being released in early 1987; a friend in junior high school was a slasher film fanatic and used to bring in issues of Fangoria for me to read (Goddamn, that magazine ruled).  I'd heard of A Nightmare on Elm Street and its first sequel from my older siblings but knew zero about them until my schoolmate showed me pictures of the burnt guy with the finger-knives.  Immediately I was fascinated - what kind of an imagination came up with this creepo??  My friend also had a copy of the novelization The Nightmares on Elm Street, Parts 1, 2 and 3, as well as the Nightmare on Elm Street Companion coffee table book (which I still have).  I rushed out to buy both books, having never seen any of the films, and dove in head-first.  I soon rented the first movie and loved it, rented the second and just sorta liked it, and couldn't wait to see the third once it dropped on VHS (Being under 17 I didn't have a parent/guardian available/interested in accompanying me to the theater for this movie/film).  Another friend eventually bought the third movie, so I watched it at his house, and it blew my goddamn fuckin' mind.  The nightmare sequences were way more elaborate and fantastical, the teenagers now had dream powers, and Freddy was crackin' jokes the whole movie.  It was like a slasher movie crossed with a comic book, and at 12 years old it was one of the greatest things I had ever seen.

This book is the TITS.

Tangent time: That summer I fashioned a Freddy claw out of an old leather glove and some Tinker Toys (they didn't yet have the licensed Freddy glove), and my mom bought me an official Freddy mask to go with an old red-and-green-striped sweater my parents happened to have in the house.  I obviously went as Freddy for Halloween that year and was proud as fuck of my costume.  'Course looking back now it seems borderline inappropriate for a 12-year-old to dress up as a serial child murderer, but the 80s were a strange time.

Anyway, back to the movie.  Nightmare 3 was considered a more faithful sequel to the original (after a second installment was made against Wes Craven's stern objections, throwing out some of the rules established in the first, as well as lightening the tone and injecting a love story).  Nightmare 2 was quite successful at the box office, but critics and fans were disappointed with how far it strayed from Craven's original vision.  So for the third movie Craven was brought back in to shape the story, Nancy Thompson returned to the fold, and while still slightly comedic, the movie restored somewhat the original's darker tone.  Freddy was now dream-stalking a group of troubled, suicidal teenagers, but said teenagers had also learned to develop special skills to fight back.  Armed with a more robust budget, the filmmakers poured everything they had into the set pieces and effects, creating a crowd-pleasing horror entertainment that handily outgrossed its two predecessors.

Hey, nothing wrong with that, but watching it now there is some stuff that doesn't hold up for me.  Before we get to that though, let me heap some praise on this esteemed bit of slasher escapism...

Awesomely Shitty Movies: A Nightmare on Elm Street 2 - Freddy's Revenge

Welcome to yet another installment of Awesomely Shitty Movies, here at Enuffa.com, where I examine uneven films and try to separate the good from the bad.  Today I'm talking about A Nightmare on Elm Street 2: Freddy's Revenge!

Click HERE to read about Nightmare 3 and HERE for Nightmare 4...

In 1984 fledgling film studio New Line Cinemas scored an unexpected monster hit with Wes Craven's weird little movie about a burned-up guy who kills teenagers in their dreams.  The studio had literally mortgaged its future on the project, and when it turned up a tidy $22 million profit, they were eager to follow it up with something equally successful.  The only problem was, Wes Craven (who as a condition of New Line's agreeing to finance the first movie had signed it away as his intellectual property) had no interest in making Nightmare a franchise and declined to participate in a sequel.  Instead director Jack Sholder and screenwriter David Chaskin were brought in to helm the project.  Sholder later confessed he wasn't a fan of the first movie (odd choice to have him direct this one then) and wanted to take the material somewhere else, while Chaskin loaded up the sequel with unusual social subtext for an 80s popcorn movie.  One gross early miscalculation on the part of the filmmakers was the idea that they didn't need a proper actor to play Freddy - since Robert Englund demanded a raise from his Nightmare 1 salary to return, producer Robert Shaye attempted to keep the budget low by casting a stunt double in a Freddy mask.  They got as far as one scene before realizing he was terrible, and wisely agreed to Englund's terms.

Picking up five years after the events in Nightmare 1, this film centers around the new tenants of Nancy Thompson's former address, in particular a teenage boy named Jesse Walsh.  Jesse is haunted by nightmares about Freddy, who asks permission to use Jesse's body as a vehicle for murdering people in the real world.  What follows is a battle of wills, as Jesse struggles to squash the evil growing within him.  The premise is simple, but the thematic choices and execution are what's really intriguing about this often-maligned movie decades later.

So let's detach the good and the evil surrounding A Nightmare on Elm Street 2, shall we?



The Awesome


Performances

A few cheesy and awkward moments aside, the principle performances in this movie are strong, at times some of the most credible in the series.  Mark Patton brings a tortured sense of sexually confused teen angst to the role of Jesse, unsure what to do with both his budding physical maturity and his nocturnal hauntings.  Kim Myers is sweetly nurturing and warm as the beautiful girl-next-door Lisa.  Robert Rusler is the meathead jock you can't help but like as Ron Grady, who initially bullies Jesse but ends up becoming his friend and confidant.  Veteran actor Clu Gulager is cluelessly stern as Jesse's unsympathetic father, insensitive to the changes, both Freddy-related and otherwise, his son is going through.  And of course there's trusty Robert Englund as Freddy himself, who comes off possibly more malicious here than in any other film.  Freddy just seems especially hostile this time around, almost as though Englund resented not being asked back in the first place.  Or maybe I'm reading into things...




Freddy's Look

Original Nightmare makeup artist David Miller was unavailable to return for the second film, so 23-year-old Kevin Yagher was brought in for his first of three Nightmare films.  Yagher had nothing to go on in recreating Miller's makeup design except clips from the first film and a few photos, so he mostly started from scratch, making Freddy's prosthetics thinner, bonier and more witch-like, adding to his menacing look.  Another wonderful touch was giving Englund red contact lenses to further enhance his demonic appearance.  Yagher's makeup really established the exaggerated, shiny, "classic" Freddy look.  Of the entire series, this is my favorite execution of Freddy's makeup.

Awesomely Shitty Movies: Mary Shelley's Frankenstein

Welcome to yet another edition of Awesomely Shitty Movies, here at Enuffa.com!

Today's entry is for me one of the great disappointments in cinematic history.  In 1994 Francis Ford Coppola followed up his critically and commercially successful Dracula adaptation with a production of Frankenstein, directed by and starring Kenneth Branagh, with Robert De Niro as the creature.  Like Dracula, Mary Shelley's Frankenstein was an operatic, gritty, almost pulpy screen version of the novel that featured fairly graphic blood and gore, and appealed to the mid-90s culture of excess.  Unfortunately it wasn't nearly as well-received as its counterpart and flopped in the States, though it did pretty well overseas.

Being a huge fan of Coppola's Dracula, I was salivating at the prospect of a faithful Frankenstein adaptation, and for a solid five years I tried to convince myself that this film worked.  But it doesn't.

So what went wrong?  How did such a promising endeavor fail to connect with its audience?  Let's take a look....



The Awesome


Robert De Niro

In an odd bit of casting against type, Robert De Niro was tapped to play the reviled, misshapen creature, and even stranger, his character/performance is the most understated and relatable.  In a film where almost everyone has comically histrionic moments of distress and anguish, De Niro oddly provides an anchor, portraying the creature as a misunderstood brute who is pretty gentle by nature until pushed too far.  Despite having to act through heavy makeup, De Niro, like Boris Karloff in the 30s, was able to convey a wide range of emotions and make us care about him.

Looks like Leatherface almost

Helena Bonham Carter

She's asked to go a bit over-the-top occasionally (to go along with her absurdly large hairstyle), but overall Carter's performance as Victor's fiancee Elizabeth is tender and nuanced, making the romantic elements of the story ring true even as the rest veers into parody.  She comes across as a strong 90s cinematic love interest while staying true to the period setting.  

"The hair needs to be bigger on top!
It's gotta be a wall, a wall!"

Awesomely Shitty Movies: The Curse of Frankenstein

Welcome to another installment of Awesomely Shitty Movies, here at Enuffa.com!

It's about that time - Halloween season is upon us and therefore it's time to watch some horror movies and pick them apart, even if they are cult classics.  Today I'll be discussing the Hammer Films adaptation of Mary Shelley's gothic horror milestone, entitled The Curse of Frankenstein.  Released in 1957 and shot on a very modest budget, TCOF more or less kicked off Hammer's successful series of horror films, leading to not only a slew of Frankenstein sequels but also a Dracula series and others.  Hammer was to 1950s horror cinema as Universal was to the 1930s, adapting many of the same properties but shooting them in color and in far more graphic detail, but in my opinion sacrificing the gothic atmosphere Universal had established.  The Curse of Frankenstein launched the film careers of both Peter Cushing as Victor Frankenstein and Christopher Lee as the monster (Hammer's makeup department had to work hard to differentiate their creature from Universal's so as to avoid legal action).  The film was a smash-hit (grossing $8 mil on a $250,000 budget) and of course spawned numerous follow-up installments while putting Hammer on the map as a preeminent horror film studio.

But is The Curse of Frankenstein any good?  This was my first time viewing it, and well, here's what I thought....

The Awesome

Peter Cushing

Now-legendary English thespian Cushing was primarily known as a TV actor prior to this film, and understandably became a big star due to its success.  Cushing enjoyed regular work as both Victor Frankenstein and Dr. Van Helsing over the next two decades and of course landed maybe his biggest role twenty years after this film, playing Grand Moff Tarkin in the original Star Wars.  His work here is quite capable, conveying Victor's wide-eyed enthusiasm-turned-sinister obsession with creating a man.  Cushing starts out dignified and optimistic and gradually descends into murderous madness, stopping at nothing to realize his ambition.  The script perhaps takes the latter a bit too far, as I'll get into in a bit, but as far as an acting performance, Cushing is very good.

Awesomely Shitty Movies: House of Dracula (1945)

Welcome to another installment of Awesomely Shitty Movies here at Enuffa.com, where I cut open a piece of Hollywood schlock and see if I can figure out what went wrong, or what they were thinking, or what the point of the movie was, or what have you.  Today's subject is the final film in Universal's Frankenstein series (before Abbott & Costello got involved that is), House of Dracula!

Released in 1945, House of Dracula was the third film in the series billed as a monster crossover.  After the success of Frankenstein Meets the Wolf Man and the "blow your wad" approach to House of Frankenstein, the studio assembled all its monsters for one last romp, this time in a story focused primarily on Dracula.    

This oddly crafted tale concerns Drac inexplicably seeking a cure for his vampirism and turning to unorthodox scientist Dr. Edelmann, who believes he can cure the Count with a series of blood transfusions.  On the side, Drac is also making romantic overtures to one of Edelmann's assistants Milizia, who he apparently knew years ago.  Separately Lawrence Talbot, better known as The Wolf Man, also seeks Edelmann's help to cure his lycanthropy, which Edelmann believes he can cure by reducing swelling in Talbot's brain (Edelmann theorizes that it's not the moon that causes the transformations, but rather Talbot's *belief* that the moon causes them).  Separately still, Edelmann promises his other assistant Nina that he can cure her hunchback with spores from a plant he's discovered.  And further separately Edelmann stumbles onto Frankenstein's monster, thought dead after sinking into quicksand in the last movie, and contemplates reviving him to full power (like every scientist who comes across this mute motherfucker).

Lotta threads happening in this movie, all of them involving monsters and freaks, and all of them tied to Edelmann and his research.  I had a lot of issues with this film, which I'll get to in a bit, but first let's talk about the positives....

Awesomely Shitty Movies: House of Frankenstein (1944)

Welcome to another Frankenstein-themed installment of Awesomely Shitty Movies, here at Enuffa.com!  If you haven't been following this series and want to catch up, make sure you start at the beginning with our take on the original Frankenstein!  Or jump in from our previous installment, Frankenstein Meets the Wolf Man!

Well we're six movies into the Universal Frankenstein series.  After two genuinely good films and one admirable near-miss, the studio morphed these films into cheap monster exploitation fare, culminating in the first-ever crossover movie with Frankenstein Meets The Wolf Man.  That movie was such a hit the studio decided that more = better, and they added Dracula to the mix for the followup, House of Frankenstein.  And to sweeten the deal they included a new hunchback character and a wacked-out scientist just so the posters could include five "monster" characters.  It was the 1940s equivalent of The Avengers or Justice League, with all the in-house freaks in one movie.

Set thirty years after Frankenstein Meets The Wolf Man, the story this time centers around Dr. Niemann, an evil scientist, and his hunchbacked assistant Daniel who escape from prison and decide to get revenge on all the men who put them there.  To that end Niemann steals and revives Dracula's corpse and then makes his way to Frankenstein's castle where he resurrects the Frankenstein monster and Larry Talbot, who were washed away at the end of FMTWM.  Niemann promises his assistant and Talbot that he'll transplant their brains into better bodies but all hell breaks loose as usual. 

But was it any good?  Ummmm, nope.  Still, on a stupid fun level there's some enjoyment to be had with House of Frankenstein.  So let's take a look, shall we?



The Awesome


Boris Karloff

Karloff made his return to the Universal Frankenstein films here, but instead of reprising the role that made him famous, he plays the main character of the mad scientist.  His presence lent the film a bit of much-needed credibility and it was fun to see him in such a different role from that of the monster.  If this movie has nothing else going for it (and it's close), at least it has Karloff.

Look it's Frankenstein and Dracula together....sort of.

Visuals

Like Frankenstein Meets the Wolf Man, House has some lovely black & white cinematography and well-designed expressionistic sets.  This entire series made great use of scenery, lightning and cinematography (Ghost of Frankenstein excepted - that movie looks like garbage), so even amidst the hammy acting and nonsensical plotting at least there's always something nice to look at.  One set I particularly loved was the ice cavern.

Super cool set

Awesomely Shitty Movies: Frankenstein Meets The Wolf Man (1943)

Welcome to another Frankenstein-related Awesomely Shitty Movies, here at Enuffa.com!  Continuing with the Universal Studios franchise, we've arrived at the first cross-over film in the series, Frankenstein Meets The Wolf Man, starring Lon Chaney Jr and Bela Lugosi.  If you missed our Ghost of Frankenstein review, click HERE.

FMTWM served as both a continuation of Ghost of Frankenstein (review HERE) and the 1941 classic The Wolf Man, and the studio wasn't coy about the two characters' eventual showdown.  The story here finds The Wolf Man Lawrence Talbot accidentally brought back to life and searching for a way to kill himself.  His travels take him to the old Frankenstein castle, where the monster is somehow still alive.  This barebones plot is just a way to get the two monsters in the same room so they can fight.  Not unlike a certain DC Comics crossover film released a few years back....

Anyway, there is unabashedly little substance to this movie but the filmmakers at least found ways to make it visually engaging, and its 74-minute running time flies by.  So let's take a look at the pluses and negatives of Frankenstein Meets The Wolf Man....



The Awesome


Dutch Angles

Frankenstein Meets the Wolf Man, despite its obvious status as an early schlock film, is actually pretty visually stunning, in part due to extensive Dutch angles to create a sense of being off-balance.  Unlike Ghost, which featured flat angles and drab cinematography, the filmmakers here made a conscious effort to at least draw the viewer in with the visuals.

Crooked cameras.....

Use of Shadows

In the same vein, this movie has a distinctly Expressionist look, with intense shadows that add to the gothic flavor.  There may be very little going on plot-wise, but this is damn sure a fun movie to look at.

Nice, atmospheric sets in this movie

AEW WrestleDream 2026 Review: Young Bucks Did It Again

Man, talk about a show that overachieves...  AEW's fourth annual WrestleDream is in the books, and for a show that had an already rushed three-week build derailed by the death of Pac, plus an untried gimmick match in the main event, this show delivered huge.  The four-hour-fifteen-minute running time flew by and even the weakest main show bout approached four-star territory.  Also we got the debut of Ilya Dragunov, who should fit right in.  Plus, holy shit that tag title match.

But I'm getting ahead of myself.  As I figured would happen, the main show kicked off mid-match as FTR and the Motor City Machine Guns had already gotten underway about eight minutes earlier.  I think I'd have preferred the introductions and just the very beginning of the match take place on the pre-show, because those eight free minutes felt like they were sort of killing time until the actual PPV started.  Once on the main show this match was quite good, though I think they missed their peak by a few minutes at the end.  This felt like a good old-school tag match in the vein of Anderson & Blanchard vs. Rock N' Roll Express.  After 26 total minutes and some close nearfalls, the Guns won with a tandem package bomb for the win, putting them 1-0 in the series.  Good opener that would've benefited from some trims.  ****

AEW WrestleDream 2026 Preview & Predictions

It's October and you know what that means: it's time for AEW WrestleDream 2026 predictions!

Only three weeks after All Out we have another PPV extravaganza, one whose build has unfortunately been rushed due to both the quick turnaround and the death of Pac.  In place of a big story around the AEW Title they've opted for a new high-concept gimmick match.  More on that in a bit.  But there's a lot of potentially great stuff on this lineup, per usual, particularly considering how little time they had to throw this together.

Let's get after it.....

Buy-In: Divine Dominion vs. Sisters of Sin

This came about because of a trios match on Dynamite, where DD teamed with Mercedes Mone against the Triangle of Madness, and the latter squad got the win.  Since Mercedes and Thekla are fighting for the Women's Title, why not run back this tag showdown as well?  The action in the trios match was pretty good, and so should this be.  Since the Sisters won the first round I think Dominion ties it up.

Pick: Divine Dominion

Awesomely Shitty Movies: Ghost of Frankenstein (1942)

Sigh.....welcome to another edition of Awesomely Shitty Movies, here at Enuffa.com.  Today we look at the moment when Universal's Frankenstein franchise took a screeching 90-degree turn and went tumbling, ablaze, off a cliff into the night.  That moment when the studio ceased making top quality films about everyone's favorite flat-headed clod and transformed him into a mindless B-movie ghoul.  That's right, I'm talkin' about Ghost of Frankenstein....  (Click HERE if you missed Son of Frankenstein)

When Son of Frankenstein was another smash-hit, Universal realized there was still a ton of money in these movies and began churning them out at a rapid-fire pace, without paying attention to the annoying little details like story, characters, acting, or in this case visual style.  Ghost picks up the story shortly after the events of Son, where the villagers of Frankenstein are still angry and hysterical because the apparent death of the monster hasn't magically fixed all their woes (Kinda like with American politics).  They believe the monster might still be alive, not to mention Ygor (Good guess), and it's kept them under a curse.  The mayor eventually gives in to their badgering and greenlights their plan to destroy Frankenstein's castle (Because apparently the authority figures in this town are cool with rioting).  As they smash and burn the castle, Ygor stumbles onto the preserved monster, embedded in a block of solidified sulfur.  He breaks free and Ygor takes him to the village to find Wolf Frankenstein's brother Ludwig, also a scientist who might have the secret to restore the monster to his former glory.  Here we go again.....

So what worked and what didn't (Spoiler alert: Most of it didn't work)?  Let's take a look.....



The Awesome


Bela Lugosi

Bela's back as Ygor, and despite being directed to play the character completely differently than before, he gives another solid turn as the villainous hunchback, manipulating both the monster and the scientists to bend to his will.  No matter how cheesy and low-rent the movie, Lugosi's presence is always a welcome one.  Just ask Ed Wood.

"Hello young lady.... vant to see the inside of my van?"

Twist Ending

After a pretty tedious, meandering hour, it all comes down to Ludwig's decision to take out the monster's criminal brain (Remember that from the first movie?) and put in a healthy one.  Unfortunately though, Ygor has convinced his assistant Dr. Bohmer to substitute Ygor's brain, which will allow him to live in a strong, healthy body instead of his current mangled form.  Ludwig unwittingly puts Ygor's brain in the monster's head and revives him, and the monster begins triumphantly speaking in Ygor's voice.  But just then he discovers his eyesight is failing due to Ygor not having the same blood type as the monster.  Yeah this is all pretty goofy, but it's kind of a cool, disturbing plot twist for this series and I would've liked to see where they took this storyline.  Problem was, in Frankenstein Meets the Wolf Man the studio hated Lugosi's performance as the monster and cut all his dialogue, removing any references to this scene, including the monster's blindness.

Awesomely Shitty Movies: Son of Frankenstein (1939)

Welcome to the third Awesomely Shitty Movies piece dedicated to the Universal Studios Frankenstein series!  In case you missed part 2, check it out HERE.  Today we're talking about the third film in the franchise, Son of Frankenstein!

After the critical and commercial triumph that was Bride of Frankenstein, it seemed like another sequel would be a natural.  But Carl Laemmle Sr and Jr were soon forced out of the company due to their extravagant spending, and it seemed monster movies were off the table as well.  It was only due to an LA theater reviving Dracula and Frankenstein as a double feature, and the ensuing huge box office success, that the studio opted to jump back into that pool.  James Whale was not interested in returning however, and Rowland V. Lee was hired to direct the third film.  Son of Frankenstein was originally to be shot in color as well, but the monster's makeup didn't look quite right, so that plan was scrapped.

Son of Frankenstein was another box office success and helped pull Universal out of its financial slump.  Following this movie the studio began churning out cheesy Frankenstein sequels and crossovers, making Son the last serious entry in the series.

So what worked and what didn't?  Let's take a gander...



The Awesome


Visuals

This series thus far has been full of rich, expressionist lighting, off-putting Dutch angles, and an emphasis on intense lights and darks to plunge the viewer into this bizarre world.  Son of Frankenstein continues this trend and in some ways takes it a step further, with some of the sets including angular, surrealistic staircases that cast jagged shadows on the walls behind.  Almost every set in fact has bare, textureless walls so the shadows can come across more strongly.  More on that aspect a little later.  The Film Noir genre was just beginning to blossom at this point, and many of those films must've taken some visual cues from Son of Frankenstein, among others.

Great use of lighting and angles

Awesomely Shitty Movies: Bride of Frankenstein (1935)

Welcome to the second installment in our Awesomely Shitty Movies series pertaining to Universal Studios' Frankenstein franchise!  (Part 1 can be seen HERE)

Today it's the Frankenstein sequel that is almost universally (heh, get it?) praised as being superior to the first film, Bride of Frankenstein!

After the monumental success of the 1931 adaptation, Universal Studios understandably pushed for a follow-up, but James Whale was initially skeptical, thinking there was nothing more that could be explored in the material.  Instead Whale directed another hit horror film, The Invisible Man, and the studio pushed even harder for a Frankenstein sequel.  Whale finally agreed on the condition that Universal would produce a film of his called One More River, and when directing Bride opted to swing for the fences.  It would be a much larger-scale production with garish surrealism and subversive undertones, blending monster horror with dark comedy.  On paper this movie should never have worked as well as it did.  Whale was allowed to inject so much of his own personality into the film and its characters, and thus it became a celebration of those who live outside the "norm."  With the expressionist influences of the first film turned way up for the second, and the drama ranging from horrific to funny to genuinely touching, Bride of Frankenstein is the pinnacle of the Universal monster films.


Now let's criticize it.....



The Awesome


Karloff Again

Boris reprised the role that made him a superstar, once again slipping on the giant boots and flat head.  This time the monster actually spoke, lending more depth to the character and making him even more sympathetic.  Indeed, Bride of Frankenstein is much more about the monster's character arc than Frankenstein's.  His driving motivation in this film, much like in the novel, is the search for a companion of some kind, and Karloff gives a largely quite tender, vulnerable performance that further solidifies the monster as a misunderstood brute.

Still the man

Elsa Lanchester

Despite very little actual screen time between her two roles (Seriously, it's maybe five minutes total), Elsa Lanchester brought to life one of the great movie monsters and gave a tremendously memorable turn.  Also notable is the disparity between her two characters; Mary Shelley is sweet-faced and proper, while the title character is wild-eyed and bird-like (Lanchester apparently based her head movements on those of a swan).  Her brief onscreen interaction with Karloff is bizarre and climactic; one of the great monster movie payoffs.

Makes sense her hair is standing up,
she did just get electrocuted technically

Awesomely Shitty Movies: Frankenstein (1931)

Welcome to a special Halloween-themed Awesomely Shitty Movies, where I dissect a beloved classic and ruin everybody's fun, like an unwashed neighborhood kid pissing in the community swimming pool.

Today's subject, and the first of a series of ASM articles, is the 1931 horror milestone Frankenstein, based on the legendary 1818 novel by Mary Shelley (of Mary Shelley's Frankenstein fame).

Now look, before you get upset that I'm referring to this film as "awesomely shitty," please understand I hold Frankenstein in very high regard.  I've been a fan of this film since I was about six years old and I make it a point to watch it (and its first sequel) once a year during Halloween season.  That said, there are quite a few flaws with the film and I'm here to point them out and probably piss a lotta people off.  But whatever....

Frankenstein first emerged as a novel after its author, her husband Percy, and their friend Lord Byron were rained in one night on vacation and decided to have a little ghost story contest.  Mary had a "monster" of a time (Get it? Eh??) coming up with a story idea, but it finally came to her one night in a dream - the vision of a medical student bringing life to a man he'd stitched together from parts of the dead.  Eventually the tale grew into a full-fledged novel, and a literary classic was born.

The visual aspect of the story instantly lent itself to theatrical interpretation, and nearly a century later as the film industry blossomed it found itself the subject of several cinematic attempts (the first being Thomas Edison's 1910 short).  But it was Universal Studios and producer Carl Laemmle jr. who would make the word "Frankenstein" a household one.  Coming off the heels of a tremendously successful Dracula adaptation, Laemmle hired director James Whale and veteran actor Boris Karloff to bring the story to life.  Frankenstein was a "monster" hit (I did it again, did you catch it??), spawning three direct sequels and four crossover films, and changing monster movies forever (No no, that time it wasn't a pun).

So what worked about this immortal film and what didn't?  Well, I'm here to set the record straight....



The Awesome


Makeup

In bringing Frankenstein's monster to life, makeup artist Jack Pierce and director James Whale collaborated to create one of the most instantly recognizable characters in cinema history.  The flat head, heavy brow and neck electrodes were all strokes of genius, as was Boris Karloff's added touch of mortician's wax on his eyelids to give him a half-awake zombie-like appearance.  This makeup immediately became iconic and it's still considered the definitive Frankenstein look, used extensively in Halloween decor and marketing.

Such a great look

NJPW King of Pro-Wrestling 2026 Preview & Predictions

The other big wrestling show this weekend is NJPW King of Pro-Wrestling, their traditional October event.  And like Destruction, this show essentially consists of five important matches plus some tag bouts.  

New Japan is definitely regaining The Feeling in 2026.  The new guard of top guys and rising stars has made this product feel fresher than it has in a long time, and the steady crossover with AEW has helped fill in the gaps.  Destruction's five big matches were an easy watch and included a couple strong highlights like Gabe Kidd vs. Drilla Moloney, while helping to set up the important bouts on this show.  

Let's take a look....

NEVER Openweight Six-Man Championship: Will Opsreay, Henare & Great-O-Khan vs. Yuto-Ice, Oskar & Jeff Cobb

The AEW Champion being one of New Japan's Trios champs is pretty weird, but I ain't complaining that he's here.  Should be a very fun party match.  Yuto and Oskar just regained the IWGP tag belts from Henare and O-Khan, so the question is, do they make it two and a row or is it a 50-50 scenario?  "Mystery partner" Cobb could certainly use the win here, and Ospreay obviously doesn't have to get pinned.  We still have an Ospreay-Newman match on the horizon, maybe at the Dome.

Pick: I'll go with the challengers

George Romero's Living Dead Trilogy: Day of the Dead (1985)

Welcome to the final part of my Living Dead Trilogy retrospective.  If you missed Part 1 and Part 2, check 'em out.....

Dawn of the Dead was such a success the distributor, United Film Distribution Company, signed Romero to a three-picture deal, provided that one of those three films would be a sequel to Dawn.  Romero, fearing that if said sequel wasn't a hit he'd lose the chance to direct the two non-zombie films, opted to save it for last.  His next two movies were Knightriders, a Renaissance faire drama which flopped due to poor distribution, and Creepshow, a horror anthology which was a modest hit but by no means a smash.  As a result, UFDC hedged their bets with the Dawn sequel, only willing to adhere to the original $7 million budget if Romero released it as an R-rated film.  Up to this point George had planned for Day of the Dead to be a massive, sweeping zombie epic, "the Gone With the Wind of zombie films," but refused to compromise the intended violence and gore for an R rating.  Thus the budget was slashed in half and Romero was forced to completely overhaul the project.  The resulting film was initially seen as an underwhelming, depressing letdown after the thrill-ride of Dawn, and made most of its money overseas and on home video.  Amazingly though, Day of the Dead has developed an enthusiastic cult following in the years since, in many ways becoming just as influential as its two predecessors.

Day of the Dead takes place a considerable time after Dawn, when the human race is all but wiped out, and only a few pockets of civilization remain, mostly underground.  The story centers around a small military/scientific contingent occupying an abandoned mine, hoping to find some sort of solution to the zombie infestation.  Living conditions are nearly unsustainable and the scientific team is at the mercy of a crazed Captain, who is uninterested in studying the zombies and simply wants to destroy them.  What follows is a power struggle and clash of ideas between the two factions that actually contains more thematic human drama than any other film in the series.

This guy's a whackaloon.

One of the main plot threads concerns the lead scientist, Dr. Logan (a compellingly demented Richard Liberty), who has begun experimenting on zombie specimens, hoping to "tame" them.  His most promising subject is a ghoul called "Bub," who seems to understand/remember how to work basic tools and appears almost civilized.  This subplot exploits a fascinating story element: that the zombies are no longer the bad guys.  Zombies simply act according to their instinctual nature and the only evil left in the world is that which is perpetrated by the survivors.

WWE Money in the Bank 2026 Preview & Predictions

WWE Money in the Bank is this Saturday.  Yup, they're still doing this tired-ass gimmick where they give someone a free title run instead of actually taking the time to build them up as a credible challenger with plans to permanently elevate them.  Laziest booking team this side of Vince Russo.

Anyway, this lineup looks like....a show.  Ladder matches in both major companies are too common nowadays but WWE's version tends to be tame and skippable.  Then we have three other bouts, two of which are forgone conclusions, the third could go in any direction.

Oba Femi vs. Bronson Reed

It's the "meat" match of the night and they're billing it as a battle of giants.  I wouldn't exactly call Bronson Reed a giant, he's a big short dude who's lost a bunch of weight recently.  This could be fine if given enough time and if Oba's matches going forward aren't booked like Brock's were.  Oba's the current chosen one so he's obviously winning.

Pick: Oba

George Romero's Living Dead Trilogy: Dawn of the Dead (1978)

Welcome to Part 2 of our retrospective on George Romero's Living Dead trilogy.  Check out Part 1 HERE...

With Night of the Living Dead, George Romero and his collaborators stumbled onto an unexpected cult hit, and while it sadly didn't make any of them rich (Due to an unfortunate copyright snafu the film fell into public domain where it remains to this day), they now had careers as filmmakers.  George directed four feature films after NOTLD with little box office success before returning to the genre that put him on the map.

Romero got the idea while visiting the Monroeville Mall, owned by a friend of his.  The facility had a secluded suite of rooms, fully stocked with food and water, which his friend claimed could sustain a person for months in the event of a nuclear attack.  "Hmm, what about a zombie attack?" George replied.  From this simple premise sprang the narrative seedling for his next project, which would go down as the Citizen Kane of zombie films, Dawn of the Dead.

I gotta see this place (Update: I DID see it over the summer)

Romero's second foray into the zombie genre picks up some time after the events of NOTLD, when the entire country is now swarming with the risen dead, private residences have been declared illegal, the emergency networks have taken over all broadcasting, and society as a whole is just about to completely break down.  Four survivors, two from a Pittsburgh TV station and two from a local SWAT force, escape in a traffic 'copter and set up shop at the Monroeville Mall.  As the outside world crumbles, our protagonists find themselves in a shopper's paradise, the entire plaza at their disposal.

As with NOTLD, Romero peppered Dawn with underlying social commentary befitting the era of its release, in this case 1970s American obsession with consumerism and the futility in trying to find happiness in material goods.  And while not as purely terrifying as its predecessor, Dawn of the Dead is a rollicking, action-horror film with moments of humor and a ton of over-the-top gore.  Where Night was filmed in expressionist black & white, Dawn depicted these grisly events in bright, garish colors, using the mall's ample lighting to save time and money during the down n' dirty shoot (The vast majority of the scenes were filmed overnight while the mall was closed, thus time and availability were limited).

George Romero's Living Dead Trilogy: Night of the Living Dead (1968)

Since it's Halloween season I thought I'd go back and rewatch the legendary Living Dead trilogy, wherein the humble, gentlemanly indie filmmaker George Romero created one of the most disturbing film series of all time.  An aspiring, self-taught director with a background in commercial work, Romero and his associates decided in 1967 to make a feature film, choosing the horror genre for its marketability on a small budget, and a whole new subgenre was born. 

The result of course was Night of the Living Dead, a bloodcurdling guerrilla-style picture about seven survivors holed up in an old farmhouse during a zombie outbreak.  At a time when audiences were conditioned to expect cheeseball horror and sci-fi movies that were playfully scary but ultimately toothless, Night of the Living Dead was truly a shock to the system.  Here was a stark, brutal nightmare of a film depicting in gory detail people and zombies being shot, bludgeoned, stabbed, and eating human entrails, where none of the heroes make it out alive.  The overall tone is so bleak and upsetting I can't imagine how 1968 audiences took it.  NOTLD became a major hit on the midnight movie circuit, eventually grossing over $30 million worldwide on a $114,000 budget.

Romero also unintentionally pulled off a coup by casting an African-American as the film's lead.  Duane Jones, an experienced theater actor, gave the best audition for a role originally written as a white character, thus lending the narrative a poignant layer of political subtext.  The film's tragic finale, where Ben is mistaken for a zombie and shot before being dragged out of the house and burned by the redneck law enforcement posse now paralleled the racial tensions and unrest of the Civil Rights era.  The choice to depict the aftermath in grainy still photos echoes violent newspaper clippings of the time, making it that much more upsetting.

Romero's use of light and shadow is superb

Other cast standouts include 23-year-old Judith O'Dea as the hysterically frightened Barbra, and producers (and real-life married couple) Karl Hardman and Marilyn Eastman as the antagonistic Harry Cooper and his anxious wife Helen.  Given the non-professional status of most of the actors, the performances are by and large quite effective.