Ronee Blakley

Ronee Blakley

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A Nightmare On Elm Street Review


Weak
A Nightmare on Elm Street, and more notably Freddy Kruger, has a special place in the hearts of many Americans in their late 20s and early 30s. When the movie was released in 1984, these now older viewers were in elementary and middle school. The dark was a formidable threat, and a villain like Kruger was a concern that tapped at the corners of the mind.

Viewed through older eyes, Nightmare isn't remotely scary. I can see the nostalgic value of Freddy Kruger (played by Robert Englund, who has a built career on this role) the same way that I sometimes hum Debbie Gibson songs to myself. But as a first-time viewer, I found my attention caught by the lousy acting, hideously dated wardrobe, and actress Ronee Blakley's apparent bronzer addiction. She makes Jessica Simpson in The Dukes of Hazzard look like an albino.

Continue reading: A Nightmare On Elm Street Review

A Nightmare On Elm Street Review


Very Good
In 1984, A Nightmare on Elm Street revived the teen horror genre, later spawning six sequels about Freddy, the burn victim/child killer who kills you when you fall asleep. Who knew that the sheep were homages to Buñuel? Or that this was Johnny Depp's first movie? The DVD has a commentary track with Craven and the then-idolized Langenkamp, among others, to clear this all up for you.

Nashville Review


OK
Call me a heathen. I don't like Nashville.

Possibly the most celebrated film of the 1970s -- at least among film snob circles -- Robert Altman's sprawling case study of five days in the Tennessee city is self-absorbed, overwrought, and dismissive. Nor is it particularly well-made, with poor sound (even after being remastered for its DVD release) and washed-out photography, not to mention a running time (2:40) that's at least an hour too long.

Continue reading: Nashville Review

The Driver Review


Very Good
No names. Literally. The Driver is one of those films where no character's name is ever given, and its too-cool-for-school sentiment bleeds through the entire production. Ryan O'Neal is the title character, a heist getaway driver with mad skills like you wouldn't believe. (The scene where he proves his merit in a parking garage -- all but demolishing the ride along the way -- is worth the price of admission alone.) Sadly, there's a plot attached to this, with Bruce Dern the cop who's always one frustrating step behind the driver, but this movie excels so greatly during its chase scenes that you'll forget about all that business.
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