(1990)
Overall: MEH
The only collaboration between Wes Craven and screenwriter Thomas Baum, (who specializes in horror material), Night Visions also doubles as the final made-for-television movie that the director would ever do. As usual, Craven lets his actors indulge themselves in however much scenery-chewing they desire and for this round, James Remar gets to go full buffoon as a raving, gleefully provoking asshole detective who is about as realistic of a character as Powdered Toast Man is. Otherwise, this is bog-standard TV thriller territory; a police procedural with a psychic thrown into the mix who is aiding the local depa
rtment in order to catch a serial killer. Though Remar tones it down after his ridiculous introduction and Loryn Locklin turns in an impressive performance by wildly switching personalities and feeling the emotional weight of such an affliction, Baum's script never delivers on an already formulaic premise. The killer reveal is immediately apparent once we meet who it is, plus the plot plays fast and loose with its logical liberties, indulging in some schlocky action movie cliches in the process.
(1994)
Overall: MEH
With Wes Craven's New Nightmare, said filmmaker returned to the franchise that he created in an attempt to wipe things like this permanently from filmgoer's memories. Try as he might though, Craven still cannot resist the urge to scratch his inner schlock itch. Freddie Kruger has been given a revamped look, but the fleshy claws and black trench coat still do not get in the way of him dropping one-liners and using his evil powers for comedic effect, like when his tongue protrudes as a strangulation devise, his mouth cartoonishly widens to swallow someone, and his arm stretches out like Mr. Fantastic. There are other missteps besides these though. Voice overs of things that the characters said earlier are generously used just in case the audience members are morons, the digital effects are laughable, and Miko Hughe is a textbook annoying horror movie kid who whispers nursery rhymes, sleepwalks, and frequently busts out his silly evil child voice while mugging it up. Craven utilizes rare restraint in keeping Kruger's appearances to a minimum, (as he did in the initial A Nightmare on Elm Street), and whether intentionally or not, the film ends up being more about the difficulties of a mother's need to protect her children than anything "movie within a movie" related. Still, (as is often the case with Craven's work), it is a missed opportunity with too many noticeable and unfortunate mistakes.
(1995)
Overall: GOOD
A pairing between Wes Craven and Eddie Murphy sounds less unusual on paper than it may otherwise seem. Craven's films had and would continue to be inherently schlocky, (most of them in an unmistakably detrimental way), and at the time, Murphy was still a viable enough, box office draw with both comedic and acting chops in spades that helped streamline their combined powers. It is therefor ironic that motivation wise, it was Craven who wanted to make a comedy and Murphy who wanted to make a straight horror film. While this juxtaposition is occasionally jarring in such a setting, Vampire in Brooklyn mostly manages to balances its themes decently. Though he throws a few of his textbook dual roles into the mix, (one as an oily overweight preacher and the other as a Italian lowlife), Murphy and also Angela Bassett keep things respectably grounded while minor players Kadeem Hardison and the late John Witherspoon actually provide most of the humor. Sans a couple of jarring editing maneuvers and some convenient plot points, the camp value is acceptable for once coming from Craven, plus the script, (which was co-authored by Charlie Murphy) is tight enough for the material.
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