Panics

This film definitely had the 1980's vibe going strong in it's look and feel. Usually, if you are one to like the 'Classic' Slasher films of that time period, you pretty much know what to expect. Unfortunately, although there ARE some scattered good moments in the film, overall I honestly got the impression that overall it just didn't hold together terribly well. The IDEA was pretty good, and for me anyway, ANY film that starts with almost a full rendition of The Electric Prunes 'I Had too Much to Dream Last Night' is pretty damn awesome.

Some of the soundtrack choices were effective too. And, at times the director did create a nice mood. But, I don't know exactly what it was, probably the direction since the director usually has final control of how the movie comes across, flows, and ties together. You kind of got the feeling that the actors were just not quite really into it and I feel that that comes across in the performances. Also, there are many awkward moments where the patients would be acting odd or doing their thing, but to me, it didn't come across as believable. To me, many times it seemed like a number of odd, sub-par performances roughly strung together.

Most decent Slashers usually keep a good pace and keep the action going so that the story moves quickly for the audience. I didn't get that here... I think that perhaps if it could have be tightened up a bit and if the performances elicited by the director and maybe the specific shots used had been done better, than the movie would have been much more involving and more entertaining. The only way I can think of to put it, to explain the overall feel that it gave me, is that it just didn't seem to 'Flow' quite right. But, like I said, it definitely had it's moments. But, I think just too many scenes were weak. For example, not giving anything away, but one scene with the hyper patient towards the end when he took Jennifer Rubin with him down into the basement or somewhere, the scene where he was throwing a fit dragged on and on and on and just really seemed like padding and was pretty stupid. Unfortunately, there were just too many weak moments, maybe not QUITE as bad as that scene, but weak all the same.

Also, without saying too much, the 'twist' towards the end was an excellent idea and gave a nice added punch to the story. But again, it was almost too little too late... I really like the guy playing the young doctor (wasn't he the romantic lead in 'REANIMATOR') but even he seemed like he was trying REALLY hard not to sleepwalk through the film. Jennifer Rubin didn't impress very much; she just looked kind of stoned the whole time. She was a HELL of a lot better in 'NIGHTMARE ON ELM STREET 3' Also, it would have been nice to see E.G. Daily do a bit more too.

So... just rating this against other Slashers, I really can't get too worked up by it. I felt that even though the premise was very good and even though there WERE some good moments in it, overall compared to most other average to decent Slashers, I just found this one a bit limp, mainly because it just didn't seem that sharply put together. The current rating of '5.5' is about right; I gave it a '5' because I couldn't quite give it a '6' In my honest, lowly and wretched opinion, I truly think that there are a LOT better Slasher films out there...

Bad Dreams (1988) Director: Andrew Fleming (The Craft) ***out of**** Review After barely escaping crazy cult guru's (able Richard Lynch) fiery suicide pact, Cynthia (the very gorgeous and likable Jennifer Rubin) finds herself awaking 13 years later, in year 1988. Trying to get on with her life, she starts to realize that her fellow patients in the mental hospital start dying in brutal ways, and start seeing hallucinations/dreams/visions of Harris, the burnt up cult leader. Is he back from the grave, vowing revenge for Cynthia's survival, or is something more sinister going on? Rather then going the cliché way in my review and bashing this movie for its direct influences from A Nightmare on Elm Street 3, I'll just say that they never got in the way of my enjoyment of this film. A lot of movies rip off others all the time, so I don't seem to ever get annoyed by these.

The film has top notch production values, a very entertaining cast, and some warped out death scenes. You can see how the movie just wants to be a good thriller and does so almost effortlessly. I remember my dad buying a old VHS copy when I was 9 or so and not really liking it's cover, but since I didn't want to hurt my dad's feelings I stuck it up and pretended to be excited, and watched it, and ever since then I have a place in my (movie watching) heart for this, perhaps just based on that back story alone.

One thing that I really enjoy is the actors. Lot's of familiar and likable faces in the house. I invested more into the movie by that way. I do admit the characters of the mental patients aren't fully developed enough though, I wanted to know more and see more about them, like the very sympathetic Lana (played quite well by Elizabeth Daily). She has a scene where she opens up her heart and I started liking her, but the movie is quick to get to the gore and kills and her plight is cut way to short. Same could be said for Dean Cameron and Susan Barnes.

The directing by Andrew Fleming is basically there to serve the story, nothing to stand out. I would have preferred to see a director with a more unique visual voice (all of the Flemings movies never have stand out visuals) it would have made the movie more stand out, and his angles are pretty bland. Good scene transitions though.

The soundtrack by Jay Ferguson was much appreciated and quite dreamy. Far better then his over the top attempt with Nightmare 5: Dream Child.

The kills and gore are very queasy, and people who have dealt with a suicide or (god forbid) seen a suicide will surly be offended by this movie, but since I'm a avid horror fan I was never offended, but they certainly had cruel streak.

Some flaws that hurt the movie are the lack of character development (as stated) and the movie's ending felt rushed, forced, and cut short. What happened to our survivors? I hate endings that never show the characters reactions after the events are over. One thing I will compare to Nightmare 3 is the ending, which was done there was well. Please take at least 4 or so minutes to better resolve our characters. The "surprise" in the end wasn't fully explored either, it somewhat didn't make much sense to me. What is this persons final goal when he succeeds? So maybe because I didn't want to hurt my dad's feelings at an early age, makes me warm up to this easier, or maybe it is just decent effort that can be watched from time to time. But be warned, this movie deals with suicide in a crude manner and surely will offend some.

I first saw this in the early 90s on a vhs.

Revisited it recently.

When my 7 year ol nephew asked me the plot, he being a small kid, he excitedly said that its a Nightmare on Elm Street copy aft hearing the plot.

I made him see Nightmare... but used to move away the screen during gory sequences.

This movie is very slow n not at all scary.

I dont kno what the makers were trying to achieve cos even one of the cop's name is Freddy and the lead actress Jennifer Rubin was a supporting actress in A Nightmare on Elm Street 3: Dream Warriors.

Coming back to this movie, they shud have focused more on the cult group but alas.

The settings of the cultist's house is good but the movie terrible.

Everyone likes to proclaim that the world is so much worse today than it ever has been. If you feel that way and weren't alive for the 1970s, allow me to debase you of this notion. The "Me Decade" was full of random violence, the fuel crisis, Three Mile Island, Watergate, Son of Sam, the end of Manson, Zodiac and religious orders that some would proclaim as cults, from the Process Church and the Moonies to Jonestown. We don't really have a modern analogue for these fringe groups that would spring up from time to time because it seems like the Hale-Bopp comet wiped the last of these off the planet.

That's the world that Bad Dreams takes place in. In 1975, the Unity Fields cult decides to commit mass suicide by setting themselves on fire under the command of their leader, Franklin Harris (Richard Lynch of Invasion U.S.A., Sword and the Sorceror, Rob Zombie's Halloween and God Told Me To). Only one person survives, Cynthia (Jennifer Rubin, Nightmare on Elm Street 3: Dream Warriors), who still a kid when Harris set everyone on fire. She's been in a coma for over 13 years before she awakens to flashbacks of Harris being interviewed on a TV program. The final thing she sees is his face telling her that she belongs to him and he'd be coming back to take her life. This entire sequence is really well edited, showing how the cult's teachings had been accepted by every member, intercut with Cynthia being wheeled through a hospital as doctors struggle to save her life, all to the ominous strains of The Electric Prunes' "I Had Too Much to Dream Last Night."

After awakening, Cynthia attends experimental group therapy sessions for borderline personality disorder, led by Dr. Alex Karmen (Bruce Abbott, the Re-Animator films). As she becomes more aware, she begins to remember more and more — including the thirty other people who died from dousing themselves in gasoline. Worse, she sees a burned and scarred Harris when she's trapped in an elevator, who reminds her that she is his property.

What follows is an insane scene that shows the parallels between group therapy and cult behavior, as the discussion room becomes Unity Fields and Cynthia watches everyone ladle gasoline onto one another. Again, another hint is dropped that Cynthia is a "love child," as her mother is also part of the cult. One by one, the members walk to the front of the room and are baptized with gasoline, before Harris takes handfuls of the fuel and coats himself before lighting the room on fire. What starts as a peaceful embrace of death quickly turns into horror, as entire families go up in a blaze of pain, flames, and screams. Finally, Harris reappears to tell Cynthia that she and she alone screwed up and that her entire family is waiting for her, as they cannot move on without her death.

Every waking moment is caught between reality and flashback, as even a simple shower brings back the violent baptism that brought Cynthia into Unity Fields. Directly after, another patient, one who wanted to know more about Unity's message, drowns herself in the pool. Another patient (the only one who has been nice to Cynthia) named Miriam attempts to escape the hospital. Helping her to an elevator, Cynthia waves goodbye, only to see Harris smiling and waving back. She gives chase, only to find Miriam's purse left behind…as Miriam jumps from a window, sending blood and glass all over the pavement.

I'm kind of caught here. I somewhat liked it, but came away rather under-whelmed because it was all too familiar and there was something more interesting within this strange horror/thriller premise than what was chalked up. Even with some creative cracks, it should've been better. The story's direction seems a little uneven if it wants to go out to shock (a good amount of blood splatter is spilt), or play its cards for psychological torment. Something about it never entirely fulfils. The performances are the main reason this one doesn't slip off the mind too quick. The beautiful Jennifer Rubin is exceptional in brining out a vulnerable side, which is counter-punched by determination. Alongside her are a very good Bruce Abbott and a towering Richard Lynch brings an uneasy subtly to his menacing character. Harris Yulin, Sy Richardson, Susan Ruttan and an amusingly batty Dean Cameron chip in with durable support. Andrew Fleming's leisured direction is stylish, but has that breakable quality to it. Good use of lighting, colouring and composition in pockets drips of atmosphere. The material is enjoyable (if minimal), as the protagonist tries to overcome the hallucinations that might be because of her unstable state of mind or the simple reality of being haunted by a restless spirit. There's some black humour evident, but the by-the-numbers script goes about things rather seriously. As well it has a fine and compelling soundtrack to boot. The special effects and make-up FX stands-up well enough. A decent little film.