Freddy’s Dead: The Final Nightmare Full Movie

Freddy’s Dead: The Final Nightmare

Original Name: Freddy's Dead: The Final Nightmare

Genre: Comedy, Horror, Thriller

Language: English

IMDB Rating: 4.9


Release Date: 13 September 1991


Download Freddy’s Dead: The Final Nightmare Full Movie and it is 1991 Hollywood Comedy, Horror and Thriller film directed by Rachel Talalay. “The Final Nightmare” my foot, these sequels are just too successful, albeit as campy disasters, but successful ones nonetheless. What further backs up the idea that this is not the end is the fact that these films are clearly just too easy to make. No, this film isn’t quite that slam-banged, yet not even the title is quite as creative as it probably should be. It sounds like a tack-on, as in, “Oh yeah, and Freddy’s dead.” Well, no duh, he’s the ghost of a burn victim, so he’s been dead this whole series, but hey, this series isn’t particularly notorious for creative sequel subtitles, what with all of its going on with “Freddy’s Revenge”, the video game title “Dream Warriors” and the video game console title “Dream Master”.

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Okay, I actually like this film’s title just fine, partially because I love the irony behind it, as they have finally gained the guts to just go ahead a cut out of the title “Elm Street”, – which has had really nothing to do with anything the past couple of films – of all times, with the film in which Elm Street finally comes back into play. So yeah, “Elm Street” is nowhere in the title, but quite a few of the flaws that have haunted this saga since film, on the other hand, aren’t simply back, but back and more intense than ever, and not alone, going accompanied by more flaws than ever, and just enough for the final product to nearly fall as mediocre, for although the film manages to survive as decent in the long run, there’s still oh so much holding it back.

Each one of these films, or at least ones up until this point, have had some degree of intrigue, or even tension, yet with this film, there’s not bite to the nerves, and partially by design, because with this film, they just throw everything out of the window and admit to making this an all-out horror comedy, which is reasonably noble and all, were it not for the filmmakers’ counteracting this film’s new-found toungue-in-cheek with more cheesiness than ever. The kill set pieces are surprisingly limited, yet each one, as well as certain other set pieces, run much too long, which slows down the comic effectiveness of the intentional cheesiness, whose effectiveness is already made lacking to begin with by the set pieces being a bit too cheesy for their own good. Of course, where the comic set pieces have the upperhand over the dialogue is in their being effective at times, whereas the dialogue consistently falls flat as lame and corny, as well as made all the worst by quite a few performances behind the dialogue delivery, some of which are weak, with a few of which being nearly hard to watch.

The film doesn’t hit as many marks as it probably should as a comedy, yet it has its moments, and that would have distanced the final product even further from mediocrity, yet the film ends up making the near-grave mistake of making its share of attempts at relative seriousness, which not only creates jarring tonal unevenness that further cuts at momentum, but all but destroys intrigue and tension effectiveness, and it doesn’t help that, serious or not serious, the film is made further disengaging by too much cheesiness’ and tonal uneveness’ not being the only flaws within Michael De Luca’s screenplay, which is messily plotted. One of the biggest blows to, not just the script, but the overall film in general is slam-bang hurrying, in that the plot dashes along its points with limited exposition and a rather awkwardly speedy pacing, with little in the feel of organic rising and falling action, thus creating repetition and quite a bit of filler blandness that plagues this film from beginning to glaringly cop-out, holes-riddled end. The flaws mentioned aren’t quite as glaring as I’m making them sound, yet they are glaring nevertheless, and relentless for that matter, plowing into this film time and again until the final product nearly collapses into mediocrity, and certainly collapses beneath the quality of any of its also thoroughly flawed predecessors. However, in the end, the film ultimately manages to escape that mediocrity, albeit by barely a little more than a hair, yet enough to stand as decent, partially because it has its occasions in which it manages to back up its more tongue-in-cheek attitude.

Much too much in the comedy department falls flat, and that nearly leaves the film to fall flat, yet among the things that saves this film are moments in which the comedy doesn’t necessarily hits, yet charms enough with its fluffy color to hold your attention, and maybe tickle the funny bone on a few occasions. What aids in the relative effectiveness of the film’s reasonably enjoyable fluffiness are production designs and special effects that are faithfully colorful, having a kind of elaborate presentation and dynamical that may have dated a fair bit over the years, yet still goes strong enough to supplement the fluff with adequate lively dazzle. It stands as worth mentioning that this film is directed by Rachel Talalay, producer of 1988’s “Hairspray” and 1990’s “Cry-Baby”, and while that stands alongside the fact that she is, with this film, an improvable first-time director as quite the reason why she has little, if any business taking on a “Nightmare on Elm Str-oh, I mean, “Nightmare” film (No more “Elm Street” in the title apparently), it shows that she has taste in fluffy humor and tongue-in-cheek attitudes, and while she stands to do a better job actually directing the fluffiness, and while the fluffiness itself stands to be much more well-handled, Talalay graces this film with a certain charm that keeps things going.

If nothing else, Talay graces this film with ceaseless entertainment value, for although the film stands to have more bite to it, it would have made that collapse into mediocrity, if not further, were it not for its being rather charmingly entertaining. What further pries this film from disaster and into moderate decency is, of course, the man who has made this series what it is, because with this film, they finally go for it and make Robert Englund no secondary character or “simply there for conflict” antagonist, but an occupant of most of the film, and boy, does he make sure that such a jump in prominence doesn’t go to waste. The film holds a certain decency right away, and such decency loses steam as the film progresses, yet just before the film makes that plunge into general extreme mediocrity, Robert Englund arrives after the development segment to stay and carry this film with his usual firecreacker charisma, at its most sparkling, and an antagonistic presence that may be more effective as an intrigue-supplement than the atmosphere, yet gives you a sense of conflict, while incorporating something truly unexpected: a degree of humanity that further exposes the dark depths of and defines the iconically evil Freddy Krueger character as we plunge more into his tainted humanity with this installment. With all of my going on and on with the strengths of the film, they’re still not strong enough to fully battle back the flaws that nearly destroy this film, yet the fact of the matter is that there are strengths, and ones that stand consistent enough to keep this film alive with a degree of charm that doesn’t get it too far, yet far enough for the film to go kept alive, even if things do stand to be handled much more competently.

To end this nightmare, or at least until Wes Craven comes along with, “I have an idea for a [u]new ‘Nightmare'[/u] film”, the film counteracts its more tongue-in-cheek atmosphere with even more cheesiness, made all the more disconcerting by the quite a few fall-flat points and poor performances, as well as faulty, conventional and repetitiously and blandly slam-banged story structure, thus making for a relentlessly flawed film that nearly collapses as mediocre, yet just barely goes saved as decent by a certain charm and a couple of relatively effective moments, brought to life by the colorful production designs, reasonably chrming direction by Rachel Talalay and, of coruse, immensely charismatic Robert Englund, who adds to the undeniably consistent entertainment value that manages to make “Freddy’s Dead: The Final Nightmare” a decent fluff piece, even if it could have and should have been much more. So Download Freddy’s Dead: The Final Nightmare Free Full Movie HD Video for PC and Mac.