In 1984, Wes Craven created a horror film unlike anything ever seen. Inspired by an article in The Los Angeles Times about a boy who went to sleep and never woke up, Craven wrote and directed what is now referred to as a horror classic.

The original “A Nightmare on Elm Street” followed a group of teenagers whose dreams were haunted by a burned man with a razor glove, named Freddy Krueger. Craven’s film was a new approach to the common slasher genre.

It’s been 26 years since Craven’s groundbreaker and Krueger has since become a pop culture icon. Elementary school kids know about him, your dorm buddies know who he is and even novices to the “Nightmare” films know Krueger.

After multiple filmmakers had worn down the Freddy mythos to comedic one-liners, Samuel Bayer and Michael Bay’s production company Platinum Dunes behind such other remakes as “The Texas Chainsaw Massacre” and “The Hitcher,” decided it was time to return to the dark and disturbing roots of the “Nightmare” films.

From the opening credits of the film, Bayer’s “Nightmare” is gritty and somber – gone is the cheesy ’80s synth soundtrack, replaced by brooding violins and ambient sounds.

As in the previous “Nightmare” films, the dream sequences always come first – this “Nightmare” is no different. Each character’s dreams immerse the viewer in the tension, ultimately building up to a frightening encounter with Krueger. Bayer lends his dreary style of directing to these scenes and, above all, this is where the movie excels.

Moreover, “Nightmare’s” screenwriter Wesley Strick creatively builds another level onto the original’s plot by delving deeper into the hatred and anger that drives Krueger. Strick’s story gives this new “Nightmare” much more credibility than any previous effort and makes for an interesting and scary film. Without the richer back-story, Bayer’s take on “Nightmare” would have failed miserably.

While the plot has been given a boost of imagination, unfortunately the Elm street kids are bland and don’t stand out much against the grungy backdrop.

Instead of immediately focusing on Nancy, the main heroine of “Nightmare,” the audience is introduced to her friend-of-a-friend Kris.

The film stays with Kris for almost the first half of the movie, which in turn gives Nancy’s character less time to develop into the heroine she is.

“Nightmare’s” supporting characters seem confused most of the time. With the exception of Jesse (Thomas Dekker) and Kris (Katie Cassidy), everyone else wanders around oblivious to the threat of Krueger. This flaw drags the pacing down and makes the climax feel abrupt.

The pivotal role in this new “Nightmare” is Jackie Earle Haley’s Krueger. Without a convincing villain, fans of the series would have been disappointed – but Haley does a respectable job.

Haley’s Krueger is devilish and crafty, his slurred speech and melted flesh makes him into the vile character Craven meant him to be.

Previously (and most famously) portrayed by classically-trained actor Robert Englund, Haley’s Krueger pays respect to the role while injecting the character with a much-needed shot of evil.

Once the movie begins to unravel Krueger’s story, it is satisfying to see everything come full circle. Krueger’s motives are realized and Nancy must defeat him before she falls asleep for good.

There are very few moments of relief in “Nightmare,” and that makes it a much more serious movie. The jump scares and death scenes should satisfy any horror fan.
If you’re a die-hard fan of the “Nightmare” series, I suggest you check out this one. While the characters and acting aren’t as deep as they could be, Haley’s performance as Krueger and the interesting script are worth your time. If you can get past the fact that Englund isn’t playing Krueger and that Nancy isn’t a booby trap-making survivalist, then you’ll enjoy the movie.

If you’ve heard of Krueger but never seen any of his films, Bayer’s effort may work for you.