Remakes in Hollywood are a double-edged sword. While the concept of revisiting and improving upon flawed originals is appealing, studios often opt to remake successful and beloved films, banking on pre-existing fan bases. 1984’s A Nightmare on Elm Street was undeniably a refreshing and innovative entry into the slasher genre. Therefore, the decision to have music video director Samuel Bayer helm the 2010 remake by Platinum Dunes was, at least on paper, understandable.
A Nightmare on Elm Street (2010) centers around a group of teenagers plagued by terrifying nightmares. In their dreams, they are tormented by Freddy Krueger (Jackie Earle Haley), a disfigured burn victim. Freddy’s dream world attacks have real-world consequences; if he harms them in their sleep, they die in reality. The surviving teens are left battling insomnia as they desperately seek to understand why Freddy is targeting them.
One of the remake’s undeniable strengths lies in its casting. Jackie Earle Haley is a compelling choice for Freddy Krueger. His voice, in particular, is chilling and effectively modulated, offering a distinct and unsettling interpretation of the iconic villain. Coupled with Platinum Dunes’ signature high production values, typical in their horror productions, the film establishes a potentially solid foundation. Furthermore, similar to other Platinum Dunes remakes, this film attempts to delve into Freddy Krueger’s origin story, a narrative element that, in this instance, is interestingly presented through the cursed teenagers’ nightmares.
However, despite these positive aspects, A Nightmare on Elm Street (2010) is riddled with significant issues. A primary flaw is the repetitive nature of the dream sequences. While the settings may occasionally vary, the sequences themselves become formulaic: teenagers wander through unsettling environments only to be predictably attacked by Freddy. Such a lack of imaginative dreamscape design from a screenwriter is truly perplexing. While Freddy’s iconic costume remains recognizable, the updated burn makeup for his face is visually unappealing. Although a realistic burn victim might indeed resemble this portrayal more closely than the 80s version, the effect leans more towards the unsettling banality of The English Patient than genuine horror.
The film’s initial half suffers considerably from a failure to develop its characters. We are presented with a group of presumed high school students who are strangely devoid of personality, existing merely as fodder for Freddy. While an ensemble cast is a common horror trope, the characters are so underdeveloped that even when they are given slightly more screen time, the audience remains detached and uninvolved.
Although the narrative does attempt to gain momentum in the latter half, the protagonists’ frustratingly slow realization of the situation hinders any genuine engagement. Despite supposedly suffering from severe sleep deprivation for days, Nancy (Rooney Mara) exhibits only mild annoyance. In contrast, Heather Langenkamp’s portrayal of Nancy in the original film, while equally active, conveyed a much stronger sense of frustration and desperation through more substantial character development and dialogue.
Ultimately, the most critical failure of A Nightmare on Elm Street (2010) is its distinct lack of scares. The film relies heavily on cheap jump scares fueled by loud sound effects, a tactic that quickly becomes tiresome. Every appearance of Freddy is punctuated by an ear-splitting scream, eliciting surprise at best, but rarely genuine fear. This approach feels outdated, uninspired, and ultimately ineffective.
Following A Nightmare on Elm Street, Platinum Dunes appears to be nearing the bottom of the barrel in terms of horror franchises ripe for remakes. While most of their remakes have been critically panned, many have proven commercially successful. Whether they intend to pursue numerous sequels, mirroring the trajectory of the original franchises, remains to be seen. However, from a critical standpoint, such an approach might be preferable, keeping them occupied and away from potentially tarnishing more highly regarded cinematic works.
