Review: I Am Santa Claus

The Joys and Hardships of Becoming Santa

By Chris Sabga

Release Date: November 4, 2014 – U.S.

Rating: Not Rated

Genre: Documentary, Comedy, Drama

Running Time: 89 minutes

Director: Tommy Avallone

Cast: Mick Foley, Russell Spice, 

Bob Gerardi, Frank Pascuzzi, 

Jim Stevenson

As one of the Santas in "I Am Santa Claus" explains, to be a good Santa, you have to have "Christmas in your heart." Then the film cleverly cuts to footage of wild-eyed pro wrestler Mick Foley being thrown violently off the top of a cell. Foley's portrayal of unhinged madmen such as Cactus Jack and Mankind made him, in his heyday, the last person you would ever associate with a character as jolly and loving as Santa Claus. But that's the point. The man inside the Santa suit can come from all walks of life. As the movie shows, there are black Santas (I met one when I was 6, and he must have been the real Santa because he knew exactly what I wanted), Jewish Santas, and Muslim Santas.

There's also a gay Santa, which is an issue with some of the other Santas. As far as I'm concerned, Santa Claus is asexual once he puts on the suit. At no point have I ever thought about what Santa does with his candy cane outside of working hours.

Speaking of candy canes, one of the Santas uses a walking cane that looks exactly like a candy cane. It's one of the most creative visual puns I've ever seen.

There are four experienced Santas in "I Am Santa Claus." They are Russell Spice, Bob Gerardi, Frank Pascuzzi, and Jim Stevenson. The fifth, the aforementioned Mick Foley, is a rookie in training. His transition is shown throughout the film.

Becoming Santa is a much more complicated process than you could ever imagine. Santa's hair and beard have to be dyed the right shade of white, which is actually an arduous and painstaking process. But it goes beyond mere looks. A good Santa has to smell a certain way too. That means choosing the right cologne and avoiding foods and substances that would destroy the illusion.

These men don't just dress up as Santa, they are Santa.

In the case of Frank Pascuzzi, that's a literal statement. The Long Island native legally changed his name to Santa Claus. (He even has his own IMDb profile!) According to him, "Santa is better than Frank." Before becoming Santa, he had long black hair and tattoos – and no one wanted to go near him. Dying his hair white changed everything. It almost seems, in his mind, that Frank has become the character who has faded into the background and Santa has overtaken him as the real person.

The obvious parallels between Santa and pro wrestling are not lost on Mick Foley, who even says as much in a conversation with the late "Rowdy" Roddy Piper. Just as wrestlers once upon a time had to become their characters 24-7, the same dedication is required to be Santa Claus.

Still, Foley's rookie year as Santa was probably easier than one of his earliest matches in wrestling, where he was bounced around the ring by a reckless Dynamite Kid.

The contrast between "I Am Santa Claus" and Foley's previous appearance in a documentary, Barry Blaustein's "Beyond the Mat," is startling. One of the final images in "Beyond the Mat" is of Foley's children crying their little eyes out after seeing their dad get hit over the head with a chair by The Rock a staggering eleven times. Near the end of "I Am Santa Claus," the sleepy joy of Foley's youngest son being visited by Santa at home is a much more touching – and far less violent – scene. I have to wonder if this was intentionally positioned as a redemptive moment for Foley – or at least his parenting. ("Beyond the Mat" director Blaustein is thanked in the "I Am Santa Claus" credits.) Whether calculated or not, it works and Foley seems like a good guy.

Almost as good as Santa.

Review: Steve Jobs

Hello Again

By Chris Sabga

Release Date: October 23, 2015 – U.S.

Rating: R

Genre: Biography, Drama

Running Time: 122 minutes

Director: Danny Boyle

Writers: Aaron Sorkin (screenplay), 

Walter Isaacson (book)

Cast: Michael Fassbender, Kate Winslet, 

Seth Rogen, Jeff Daniels, Michael Stuhlbarg, 

Katherine Waterston, Perla Haney-Jardine, 

Ripley Sobo, Makenzie Moss, Sarah Snook, 

John Ortiz 

"Steve Jobs" is the second movie in two years about the founder of Apple. Add a 600+ page book to the equation (by Walter Isaacson, which this is based on), and it's hard to blame anyone for being sick of Jobs by now. But this is far from a retread of the previous material.

The first film – 2013's "Jobs" – raced through its subject's "insanely great" history. "Steve Jobs" is narrower in focus: it takes place almost entirely during three product launches – the Macintosh in 1984, the NeXT Computer ("the cube") in 1988, and the iMac in 1998 – with a few other short flashbacks as needed.

The big surprise here: While Jobs (Michael Fassbender) may be an asshole, he's portrayed here as a benevolent one capable of recognizing his own flaws and compromising on (some) points. Steve Wozniak (Seth Rogen), meanwhile, comes across as somewhat of a bitter, petulant, slightly unhinged man-child. It's a dramatic shift from the nice and loveable but kooky guy he's usually portrayed as. Yet, the real Woz has nothing but praise for this movie, which seems strange to me given his less-than-flattering characterization in this version of the story. But, hey, who am I to argue with the creator of the Apple II?

Before each product launch, Jobs interacts with several important figures from his life: former Pepsi CEO John Sculley (Jeff Daniels, superb as always), infamous for "firing" Jobs from his own company; Andy Hertzfeld (Michael Stuhlbarg, "Hugo"), the designer in charge of making the Mac say "hello"; and Chrisann Brennan (Katherine Waterston), with whom Steve had a daughter. Chrisann is underwritten though. As justified as her emotions are, the writing or acting (or both) dismisses her as a nagging shrew. But her presence is a simply a means to an end to establish the relationship between Jobs and Lisa (portrayed by three different actresses – Makenzie Moss, Ripley Sobo, and Perla Haney-Jardine – from ages 5 to 19). The struggles between father and daughter – and the irony of a man "abandoned" by his birth parents later doing the same to his own child – end up being one of the major themes of the film.

In the foreground during all of this is Joanna Hoffman (Kate Winslet). Winslet dominates every scene she's in as Steve's tough-talking, no-nonsense, take-no-shit assistant. It's one of the film's biggest treats to behold. If Fassbender is in contention for an Oscar nomination, Winslet better be right by his side. The best supporting roles make you want to see a movie about them. Just as Tommy Lee Jones accomplished that as Thaddeus Stevens in "Lincoln," so does Winslet as Joanna Hoffman in "Steve Jobs."

It is a glaring fact that Michael Fassbinder doesn't much look like the man he's playing. But after five minutes on-screen, that doesn't really matter. Hair, clothing, and a dash of makeup are more than enough to maintain some semblance of an illusion for the audience. All of that, however, would be for naught without the great writing by Aaron Sorkin and the fantastic acting by Fassbender and his co-stars as they bring those words to life.

For a film that essentially consists of nonstop dialogue and people walking into different rooms, it is subtly stylish. The three time periods are each filmed differently: 1984 is grainy with a dark and drab color scheme, 1988 feels more open with a richer palette but retains a traditional film look, and 2008 is shot digitally and looks clear and bright. There are also other visual flourishes, such as a nighttime board meeting with rain pouring behind a glass window – a dazzling backdrop.

One of the best aspects of Sorkin's script: Something from 1984 may affect what happens in 1998. There are instances of that all over "Steve Jobs." One example: Lisa's Sony Walkman (a music tape player, for those of you too young to remember them) portends the coming of the iPod.

Of course, not everything really happened as depicted in "Steve Jobs." For one thing, people generally don't speak like great screenwriters and argue using only catchy soundbites and quips. Also, I don't think anyone is really expected to believe that all of the central figures in Steve Jobs's life would show up and confront him mere minutes before an important press conference – three times! If that actually happened, it would be a sign of collective mental illness. After all, don't these people have anything better to do? Obviously, it's a purposeful plot device designed to tell the story a specific way – and it works on that level. In Sorkin's own words, "this a painting and not a photograph."

It is tempting to analyze and contrast "Steve Jobs" with the earlier "Jobs," but it really is like comparing – forgive me – apples and oranges. Ashton Kutcher did an incredible job in 2013, but Michael Fassbender puts his own unique stamp on this version. Ditto for Josh Gad and Seth Rogen, respectively, as Woz. "Jobs" tells a more complete story, but the writing in "Steve Jobs" is superior. Both films have a reason to exist, and that's something I wasn't expecting.

• Review: The other Steve Jobs movie – 2013's "Jobs"

Review: Burnt

Send It Back to the Kitchen

By Chris Sabga

Release Date: October 30, 2015 – U.S.

Rating: R

Genre: Comedy, Drama

Running Time: 101 minutes

Director: John Wells

Writers: Steven Knight (screenplay), 

Michael Kalesniko (story)

Cast: Bradley Cooper, Sienna Miller, 

Daniel Brühl, Riccardo Scamarcio, 

Omar Sy, Sam Keeley, Matthew Rhys, 

Emma Thompson, Uma Thurman 

All too often, "Burnt" feels like a sequel to a movie that never happened. When the backstory is more interesting than the events we actually see in the film, that's a problem.

Adam Jones (Bradley Cooper) is a celebrity among chefs – he's considered the "Rolling Stones" of the culinary world – but he disappeared from the Paris restaurant scene three years earlier for all the usual reasons: bad behavior, drugs and alcohol, being an asshole. One of his drunken/assholish acts was to set rats in a competitor's restaurant and then call the health inspector. His self-imposed penance: peeling oysters in a New Orleans dive while detoxing from meth, booze, and women. His comeback takes him to London, where every single person he ever wronged in Paris now magically resides. Quite the trip! Hopefully they got a group discount.

Tony (Daniel Brühl) owns a restaurant. More accurately, his father owns it. Adam needs a job. They can help each other.

Adam's pitch: if he's hired as the head chef, he'll turn the restaurant around – and Tony can finally make his father proud. Tony agrees, but only if the temperamental chef undergoes weekly drug testing from a doctor (Emma Thompson, making the most of a small role).

Adam knows he'll need cooks. He recruits single mum Helene (Sienna Miller) and former rival Michel (Omar Sy). Along the way, he'll have to contend with a rival restauranteur (Matthew Rhys) and a finicky food critic (Uma Thurman, putting on a delicious English accent in a small cameo).

Adam Jones is a chef in the grand tradition of Gordon Ramsay – he violently clangs pots and smashes plates across the room. It's his passion for perfection, you see. And yet, ironically, he's not above eating at Burger King. He explains why, in one of "Burnt's" more memorable scenes, and outlines his philosophy in the kitchen.

The quest of every great chef is to earn three Michelin stars. How a tire company became the foremost authority on food is beyond me, but its ratings are legitimately the culinary equivalent of winning an Oscar or Pulitzer. Michelin's methodology is always the same – at least according to this movie: an "anonymous" critic will come in, carefully place a fork on the floor, order only half a glass of water, and other such nonsense along those lines. Wow, what normal, unnoticeable behavior – they sure know how to blend in!

Before years of hard living, Adam used to "look like an angel." Was this part originally written for Mickey Rourke? That's the only way that piece of dialogue makes any sense. It isn't nearly as believable when talking about Bradley Cooper. Then again, his character does have a bit of facial hair, which in Hollywood means you're living on the edge!

Despite that, one character still has lingering feelings for him. I won't say who, but "Burnt" might have been more interesting if it had gone in that direction. At least it would have been an unexpected development in a film with very few of them.

Foodies beware: there is nothing appetizing or glamorous on display here. This is a dark and gritty look at life inside a kitchen. What's on the plate definitely takes a backseat. There is nothing wrong with that, necessarily, but even the omelets look boring. No peppers? No onions? No seasoning? I guess we're supposed to believe the chef has such magical hands that he can make even plain, dull eggs taste like a slice of nirvana. Okay, maybe. (Silver Screen Sister did notice that the yolks were more orange in color. Is that how eggs look in England or did someone in the editing room have a little too much fun with the color timing?)

I suppose that's appropriate, because the movie has the consistency of runny eggs. The performances are rock solid and the characters are interesting, which makes it all the more a pity that the story is far richer off-screen than on. While there are certainly positive aspects to appreciate here, keep in mind that cold pizza still tastes good too.

Perhaps "Burnt's" biggest sin: I wasn't even hungry as I walked out of the theater.

Review: The Babadook

Chris Sabga and Matt Wintz Review This Sinister Australian Story

By Chris Sabga and Matt Wintz

To celebrate Silver Screen Halloween, Chris Sabga and Matt Wintz have teamed up to review "The Babadook." One of us liked it more. Who it was might surprise you.

–

Remember Its Name – Babadook, Baba dook, BAAABA DOOOOK!

By Chris Sabga

Release Date: November 28, 2014 – U.S.

Rating: Not Rated

Genre: Horror

Running Time: 93 minutes

Director: Jennifer Kent

Writer: Jennifer Kent

Cast: Essie Davis, Noah Wiseman, 

Hayley McElhinney, Daniel Henshall, 

Barbara West 

A movie about an evil children's book could've gone so wrong in so many ways, but the Australian import "The Babadook" is genuinely creepy and unsettling in a way that most horror isn't anymore. Much of that should be credited to the film's almost singular focus on the characters themselves and their perpetually stunned reactions: Amelia (Essie Davis) is the tired mum at the heart of this spooky story, and Samuel (Noah Wiseman) is her six-year-old son, who looks lost and terrified throughout.

The little boy throws tantrums almost nonstop in the first half, but he thankfully quieted down just as I was about to reach my breaking point with his behavior. (Matt Wintz had far less patience, as you'll read below.) As irritating as it was to watch at times, it perfectly sets up the frightening frustration that follows.

The scares from the Babadook itself are mostly delivered in the form of quick shadows, sudden movements, and – most effectively – through rapid-fire clips of scary, silent, sometimes black and white TV programs that mirror the characters' mindset. A stark sense of unease and dread permeates the entire film. There is almost no relief.

Essie Davis is a striking beauty in that classical way you rarely see in today's movies. It's easy to picture her in the 1940s or '50s attending a gala ball adorned in a sparkling evening gown. Her uncomplicated good looks – she comes across as the mum next door – stand in shocking contrast to what happens in "The Babadook."

It's an incredible performance.

More than once, I wondered why Davis was shut out of consideration for an Oscar nomination. The answer, most likely, is because this is a horror movie – and in the immortal words of Rodney Dangerfield, those "don't get no respect."

"The Babadook" should be respected – and feared. It's one of the most disturbing cinematic experiences I've endured in years.

–

Pop-Up Book Children's Chiller

By Matt Wintz

The newest venture into the dark of the Mortuary was brought on by a request, and both Chris and I decided to tackle "The Babadook." Brought to our attention due to my love for horror, this film had been sitting in my Netflix queue for the better part of a month, I just hadn't gotten a chance to sit down and watch it. The film had been getting good reviews from horror magazines and websites, and the limited imagery of the creature in question had piqued my interest, so it didn't take much for me to hit "play" on Netflix when I had a moment where the kids weren't around.

I'm going to keep it light on plot details and spoilers, but the movie deals with a widowed mother named Amelia and her son Sam who have been dealing with the death of Amelia's wife for six years now that occurred as he drove them to the hospital to give birth to Sam. Sam asks his mother to read him a story entitled "Mr. Babadook," a book she had no knowledge of him having, and the scary pop-up book ends up putting the child into hysterics. As time goes on, the kid continues mentioning that he sees The Babadook, and while at first the mom brushes it off, soon there's a little bit more to things that she can just brush off.

The movie drips with atmosphere and there is always a sense of dread and underlying horror as things develop. There isn't a reliance on jumpscares, instead very quick glimpses of the title creature. It develops more of the horror felt by mother and son in losing and dealing with the father, and there is a sense that "The Babadook" almost feels like a horror personification of grief than some demonic entity just out for kicks. It was nice, after having sat through another found footage film (a review that will come later) to have a movie that didn't feel the need for in-your-face horror. If there is one thing I will complain about from a vast number of modern horror films it is the need for the full camera jumpscare, which does nothing but elicit a momentary shock and not an overall sense of horror.

While I can appreciate the atmosphere, there are a few pieces to this Australian/Canadian horror film I wasn't too fond of. One of which was the son. Not that the acting was bad, but the kid was a straight up terror. I say this as a dad, but some of what this kid did just grated on my nerves. The biggest thing was how he seemed to have a complete one hundred and eighty degree turn about half-way through the movie. When the mother didn't believe in The Babadook, the kid was screaming and going through the motions seen in every other "I see something but mom and dad don't believe me" story in the history of horror cinema however once mom then began to seemingly take notice of The Babadook, he seemed to calm down and try to become this "I'll stop it at all costs" kid. While I can appreciate character change, this seemed so quick that it seemed implausible. The kid didn't seem to show much fear altogether that it seemed to dumb down the terror and threat The Babadook was. There were also moments that seemed slow. Now, I understand that movies do need to create their sense of atmosphere and dread, but again, this should not be a sacrifice of pacing either. While not all throughout, there did seem to be some parts of the movie that just seemed to drag. This criticism should not however negate the overall fact the film's atmosphere is fantastic.

The movie is definitely worth the time to check out, but people watching it need to keep in mind this isn't just a jumpscare movie or a movie content at throwing the monster at you any chance they can. The movie uses Babadook sparingly but effectively, and he does have a presence that when I would see him I would get a little unnerved. He is a fantastic looking creature, even if it's in a movie that doesn't necessarily explain everything about him or his intentions. And when done right, where it is here, that helps bad to both the uneasiness and terror being brought on the screen.

"The Babadook" is on home video release and streaming on Netflix, and catch Chris' review of the movie as well (above). A special thanks to Silver Screen Surprises reader Bill Zero for mentioning the movie, and I'm more than willing to take requests for future reviews. Until then, the Mortuary is closed, but always looking for another tenant.

Review: Trick 'r Treat

A Halloween Cult Classic You Don't Want to Miss!

By Chris Sabga

Release Date: October 6, 2009 (DVD) – U.S.

Rating: R

Genre: Horror, Thriller

Running Time: 82 minutes

Director: Michael Dougherty

Writer: Michael Dougherty

Cast: Dylan Baker, Anna Paquin, 

Brian Cox, Quinn Lord, Tahmoh Penikett, 

Leslie Bibb, Brett Kelly, Rochelle Aytes, 

Lauren Lee Smith, Moneca Delain, 

Isabelle Deluce, Jean-Luc Bilodeau, 

Alberto Ghisi, Samm Todd, 

Connor Christopher Levins

Such is the sterling reputation "Trick 'r Treat" has amassed over the years that I was flabbergasted to find out it never received a theatrical release. Instead, it was dumped directly to DVD in 2009 – two years after filming was completed. The cover proudly boasts the following blurb: "The best Halloween film of the last 30 years." That may not be far off from the truth. Yes, "Trick 'r Treat" is that good.

It tells several separate stories that connect in small, big, and surprising ways:

• A bickering couple (Leslie Bibb and "Dollhouse's" Tahmoh Penikett) argue over Halloween decorations.
• A skewed school principal (Dylan Baker, who has perfected these types of unsettling roles) catches a trick-or-treater stealing too much candy (Brett Kelly, the big kid from "Bad Santa").
• A 22-year-old virgin (Anna Paquin) is pressured by her friends that tonight should be the night she finally experiences her "first time."
• A group of brats lure a "savant" girl out of the house and tell her a scary story about a group of captive kids drowning in a school bus. This is a story within a story.
• A drunken recluse (Brian Cox) opens the door to the wrong trick-or-treater.

All of those sound like fairly conventional horror tropes on the surface, but "Trick 'r Treat" never fails to surprise or delight with its tiny twists and turns. The brisk pace – only 82 minutes – means there are no wasted moments in this movie and never any time to get bored.

There is a "villain" of sorts – Sam, who looks like a homemade Halloween costume – but "Trick 'r Treat" smartly focuses instead on its characters, stories, and stellar cast of actors.

I usually detest films that are split into different sections. I can't stand even some of the "best" examples of this sub-genre – sorry, "Short Cuts" and "Love, Actually" – because most of them feature one or two good sets of characters and stories along with a bunch of others that don't hold my interest or irritate me in some way. But "Trick 'r Treat" is one of the rare exceptions because it's so compelling, entertaining, and just plain done well – everything is great here.

There is so much more I could say about "Trick 'r Treat" but that would only spoil the fun. It's a special movie that you really should experience for yourself.

Review: The Intern

You're Never Too Old to Live Life, Make a Difference, and Contribute Something of Value to the People You Love

By Chris Sabga

Release Date: September 25, 2015 – U.S.

Rating: PG-13

Genre: Comedy, Drama

Running Time: 121 minutes

Director: Nancy Meyers

Writer: Nancy Meyers

Cast: Robert De Niro, Anne Hathaway, 

Rene Russo, Anders Holm, JoJo Kushner, 

Andrew Rannells, Adam DeVine, 

Zack Pearlman, Jason Orley, 

Christina Scherer  

Every once in a while, it can be particularly satisfying to watch something that's nice for nice's sake. "The Intern" is a nice movie. That it stars Robert De Niro, who has made a career out of playing heavies and menacing characters, makes it all the nicer.

Ben (De Niro) is 70 years old and going back to work It's part of a senior internship program for an online fashion e-tailer, run by a successful young entrepreneur, Jules Ostin (Anne Hathaway). Except, Ostin barely recollects the conversation she had with one of her assistants, Cameron (Andrew Rannells), who pitched the idea to her in the middle of her chaotic busy schedule. It is suggested to Ostin that she work with one of the interns – to set a good example – but she balks and panics because she's not comfortable around older people. That's because of her mother (voiced by Mary Kay Place in phone conversations), whose response to "I love you" is usually something along the lines of "yeah" or "okay." You mean, that's not the proper way to address affection? I'll have to make a note of that.

The setup for all of this is great fun: watching another senior citizen teach Ben about .avi and .mov files, uploads, and other technological jargon that must seem like a foreign language to the uninitiated; De Niro's character interacting with the other young interns; and an interview asking the 70-year-old where he sees himself in ten years. (Look for a cameo by Nat Wolff in one of these scenes.)

Of course, Jules doesn't have much for Ben to do at first. Of course, she's frigid and hard to reach in the beginning. Of course, everyone else loves him. And of course, Ben and Jules eventually are forced to get to know each other better. That the movie relies on these obvious tropes doesn't make the story or characters any less endearing. Predictability isn't always a bad thing. In this case, it gives the viewer something to look forward to and root for.

There are various subplots: Jules's challenging marriage to a stay-at-home dad (Anders Holm), who handles all of the traditional "mommy" activities with their daughter (JoJo Kushner); pressure to bring in a more experienced CEO to run the company instead of her, similar to what happened with Steve Jobs and Apple early in its history; and a relationship between Ben and the company masseuse (Rene Russo). But the main focus here is – as it should be – on the hilarious and delightful interactions between the young boss and her much older intern.

At one point, Ben wonders if he's still hip enough to live in Brooklyn. In its own quiet way, the film is a love letter to the city – as it was then and as it is now. Along similar lines, De Niro's character – with his pressed suits, pocket handkerchief, and sensible outlook on life – represents a sort of nostalgia for when "men used to be men." That concept is verbalized later in the movie during a passionate speech by Jules.

There is one particularly silly segment – involving Ben and his much younger co-workers (Adam DeVine, Zack Pearlman, and Jason Orley), a mistakenly-sent e-mail, and "Affleck's brother" – that's not even remotely realistic or believable. But what the hell, it works anyway. It's funny – and (somewhat) true! Most of the humor, though, is much more subtle and sophisticated.

"The Intern" has many great lines and great laughs. It also has a big heart and wonderful performances. This is one of De Niro's best roles in years, and Hathaway continues to prove herself as a major talent. Writer-director Nancy Meyers penned a superb script.

I laughed throughout.

I felt good afterward.

What more can I ask for? 

Matt's Movie Mortuary: A Welcome Nightmare – A Small Salute to Wes Craven

A Short Look Back at a Legend

By Matt Wintz

When I was asked to write about the recent passing of Wes Craven, I knew there were several things I could say. I could talk about his lasting impact and how he turned the horror genre on its ear twice with his movies "A Nightmare on Elm Street" and "Scream." I could talk about his controversial movie "The Last House on the Left," or the fact young actors such as Johnny Depp and Patricia Arquette had found breaks in some of his movies. The thing is, when it comes to the horror genre, Wes Craven should also be remembered for how he made horror cool to like. A genre that critics and moral crusaders hated, Wes Craven created movies whose murderous main characters crossed over into the mainstream and were loved.

Freddy Krueger transcended the small piece of the horror cinema corner he slashed for himself. Brought to life through the writing of Craven and acting of Robert Englund, Freddy found himself on MTV, having his own show entitled "Freddy's Nightmares," and became a pop icon. Without the genius of Wes Craven, he could have just been a "one-and-done" character, but Craven crafted him to be able to be something more. And Wes Craven would do that again with "Scream" in the 1990s, resurrecting the horror genre from horrible movies and into blockbusters again.

Personally, the movies of Craven I enjoy the most are sometimes overlooked for "A Nightmare on Elm Street" and "Scream." I have always loved the original "The Hills Have Eyes." The bleak reflection of two families pitted against each other: one of contemporary America and the other a cannibalistic clan forgotten from the nuclear age, showed a young director with an idea and a passion who set out into the desert to make a movie. That feeling resonated with me when I was making movies of my own. Craven was part of a horror generation of directors like Romero, Carpenter, and Hooper who didn't get dissuaded from not having a large studio behind them. Without the benefits of the technology filmmakers have now, they just ducked their shoulder and worked hard to make a movie. After hitting it big, Craven attempted to make another Freddy Krueger-esque killer in the film "Shocker." While the film never caught on like Craven hoped, it still remains a film when viewed with an open mind can be one with great potential and feeling of fun.

I never had the honor of meeting Mr. Craven, but I had the opportunity to meet people who worked on films with him and they always spoke highly of him. He was an amazing artist, a brilliant writer and director, and always came across as hopeful for the next generation of genre filmmakers. In a section of film where people who cut their teeth quickly try and distance themselves, Wes Craven stood like a sentry at the gate of horror, proud of the work he'd done and aware of the possibility the genre had. He was one of the champions the genre and he will be sorely missed.

And we'll always have Elm Street.