When you’ve made as many sequels as Wes Craven has, maybe this self-referential stuff starts to appeal to you. He started toying with the lines between film and reality with the last Nightmare on Elm Street movie, and he carries on the tradition here. He’s also stirred in a mess of cameos (Tori Spelling as herself, for example) and in-jokes to add flavor. Otherwise run-of-the-mill slasher stock, particularly missable if you saw the first one. Mildly amusing
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