Wes Craven

Paris, Je T'Aime (Paris, I Love You)

Even with the impressive talent involved, Paris, je t'aime could've ended up like a fallen soufflé. Though all 18 films aren't equally successful, they hit the mark more often than not. Romantics anticipating happy love stories set amongst the City of Lights may be disappointed to find that many are quite sad and that some parts of Paris are less inviting than others (each takes place in a different district). Further, the shorts aren't all en Français, since the actors and directors hail from around the world, but their outsider perspectives lend the project depth. The strongest entries are provided by Gurinder Chadha (Quais De Seine), Gus Van Sant (Le Marais), Oliver Schmitz (Place des Fêtes), and Alexander Payne (14ème Arrondissement), but all find interesting ways to explore cultural misunderstandings. In Joel and Ethan Coen's tragic-comic Tuileries, tourist Steve Buscemi angers a couple simply by making eye contact. Like Miranda Richardson in Isabelle Coixet's heartbreaking Bastille, he does all his acting with his expressive face. And while Maggie Gyllenhaal speaks the language adroitly in Olivier Assayas's intriguing Quartier des Enfants Rouges, Nick Nolte (purposefully) mangles it in Alfonso Cuarón's surprisingly weak Parc Monceau. The anthology ends with Payne's audio-postcard, in which Margo Martindale's postal carrier narrates her vacation in awkward, but endearing French. Instead of another person, she falls in love with Paris, simply for allowing her to be herself. It's the perfect finish to a poignant repast, like strawberries dipped in chocolate--sweet, but not cloyingly so. --Kathleen C. Fennessy

In PARIS, JE T'AIME, celebrated directors from around the world, including the Coen Brothers, Gus Van Sant, Gurinder Chadha, Wes Craven, Walter Salles, Alexander Payne and Olivier Assayas, have come together to portray Paris in a way never before imagined. Made by a team of contributors as cosmopolitan as the city itself, this portrait of the city is as diverse as its creators' backgrounds and nationalities. With each director telling the story of an unusual encounter in oe of the city's neighborhoods, the vignettes go beyond the 'postcard' view of Paris to portray aspects of the city rarely seen on the big screen. Racial tensions stand next to paranoid visions of the city seen from the perspective of an American tourist. A young foreign worker moves from her own domestic situation into her employer's bourgeois environs. An American starlet finds escape as she is shooting a movie. A man is torn between his wife and his lover. A young man working in a print shop sees and desires another young man. A father grapples with his complex relationship with his daughter. A couple tries to add spice to their sex life. These are but a few of the witty and serendipitous narratives that make up PARIS, JE T'AIME.

Music of the Heart (Miramax Collector's Series)

Why, you might ask, would Wes Craven direct a conventional biopic about Roberta Guaspari, a divorced mother of two who created an acclaimed music program in East Harlem's troubled school system? After all, Craven built his career on Freddy Krueger and the Scream trilogy, and you won't find razor-tipped gloves or a single drop of blood in Music of the Heart. All Craven has to do is provide a safe working environment for Meryl Streep (who earned an obligatory Oscar nomination), sublimate his deft directorial style, and surrender to the banalities of Pamela Gray's screenplay, which would've played more effectively on cable TV.

To be fair, Music of the Heart (partially inspired by the 1996 documentary Small Wonders) serves its purpose quite nicely. Streep is flawless in a non-showy role, and the story of Guaspari's celebrated violin training program provides the requisite rush of inner-city inspiration. As a fact-based companion to Mr. Holland's Opus, the film is less effective but similarly engaging; you'd have to be cold-hearted to dismiss it altogether. It's best when focusing on Guaspari's school program and the 10-year struggle to keep it alive; the drama falters when dealing half-heartedly with her tentative relationships, notably with a journalist (Aidan Quinn) who shies from commitment. And Craven? He seems content to direct by the numbers here, leaving inspiration on the screen while forfeiting his own. --Jeff Shannon

Two-time Academy Award(R)-winner Meryl Streep (1983 Best Actress, SOPHIE'S CHOICE; 1980 Best Supporting Actress, KRAMER vs. KRAMER) stars with Angela Bassett (HOW STELLA GOT HER GROOVE BACK) in a heartwarming, acclaimed true story of how one woman's musical gift affected those who least expected it. A single mother with little more than talent and the determination to make a difference, Roberta Guaspari (Streep) overcame the skepticism of everyone who didn't think she should be teaching violin to students in a tough inner-city neighborhood. But even after a decade of ever-growing popularity and countless success stories, Roberta and her kids must rise to meet an even greater challenge: budget cuts aimed at shutting down her valuable program for good! Also starring Aidan Quinn (PRACTICAL MAGIC) and Grammy-winner Gloria Estefan in a stellar cast, this extraordinary story will inspire anyone who's ever thought their dreams were too far out of reach!

Scream (Dimension Collector's Series)

With the smash hit Scream, novice screenwriter Kevin Williamson and veteran horror director Wes Craven (A Nightmare on Elm Street) revived the moldering corpse of the teen horror picture, both creatively and commercially, by playfully acknowledging the exhausted clichés and then turning them inside out. Scream is a postmodern slasher movie, a horror film that cleverly deconstructs horror films, then reassembles the dead tissue, and (like Frankenstein's monster) creates new life. When a serial killer starts hacking up their fellow teens, the media-savvy youngsters of Scream realize that the smartest way of sticking around for the sequel is to avoid the terminal behaviors that inevitably doom supporting players in the movies. They've seen all the movies, and the rules of the genre are like second nature to them. One of the scariest/funniest setups features a kid watching John Carpenter's seminal Halloween on video. As Jamie Lee Curtis is shadowed by Michael Meyers and the kid on the couch yells at her to turn around, Craven reverses his camera and we see that the kid should be taking his own advice. The fresh-faced young cast (including Drew Barrymore, Neve Campbell, Skeet Ulrich, Courtney Cox, and David Arquette) is fun to watch, and their tart dialogue is sprinkled with enough archly self-conscious pop-culture references to make Quentin Tarantino blush. --Jim Emerson

A crowd-pleasing smash hit with a sizzling cast -- critics are calling SCREAM the hippest thriller of the year! Afer a series of mysterious deaths, a seemingly peaceful community becomes a place where no one is safe ... and everyone is suspect! That's when an offbeat group of friends rally to unlock the town's deadly secrets ... and get caught up in a lively mix of thrills, chills, and surprises! With hot stars Drew Barrymore (CHARLIE'S ANGELS), Courteney Cox (TV's FRIENDS), Neve Campbell (54), Skeet Ulrich (AS GOOD AS IT GETS), and David Arquette (BEAUTIFUL GIRLS).

Scream 2 (Dimension Collector's Series)

To repeat the phenomenal success of their collaboration on 1996's hit thriller Scream, horror maven Wes Craven and screenwriter Kevin Williamson did a fair amount of recycling (same movie, slightly different situations), but this sequel comes surprisingly close to matching its popular predecessor. Neve Campbell, Courteney Cox, David Arquette, Jamie Kennedy, and Liev Schreiber reprise their roles from Scream, and this time they're caught in a new cycle of murders near a college campus, just as the slasher movie Stab (based on the events from Scream) is about to make its local premiere. That's the setup for another frantic guessing game involving a number of possible suspects, and the mystery is fatally complicated by the reappearance of the eerily masked killer from the first film. Who's under the mask? Craven and Williamson set up a roller-coaster series of wild plot twists and deadly encounters, and the snappy dialogue once again caters to those in the know about fright flicks, sequels, and all the movie rules that do (and sometimes don't) apply to the escalating body count. Featuring several scenes that will have you biting your nails and gripping your seat, this movie's an exception to the rule--a sequel that beats the odds to satisfy its target audience. Everyone else--you've been warned! --Jeff Shannon

Here's the incredible follow-up to the smash hit phenomenon SCREAM! Away at college, Sidney Prescott (Neve Campbell -- SCREAM, WILD THINGS) thought she'd finally put the shocking murders that shattered her life behind her ... until a copycat killer begins acting out a real-life sequel! Now, as history eerily repeats itself, ambitious reporter Gale Weathers (Courteney Cox -- SCREAM, SCREAM 3), deputy Dewey (David Arquette -- SCREAM, SCREAM 3), and other SCREAM survivors find themselves trapped in a terrifyingly clever plotline where no one is safe -- or beyond suspicion! Director Wes Craven (SCREAM) and hit-making writer Kevin Williamson (SCREAM, I KNOW WHAT YOU DID LAST SUMMER) team up once again and deliver the big screen's hippest, coolest, edgiest thrill-ride ever!

Scream 3 (Dimension Collector's Series)

When Randy the video geek rattles off the rules of surviving a horror movie in Wes Craven's Scream, he speaks for a generation of filmgoers who are all too aware of slasher movie clichés. Playfully scripted by Kevin Williamson with a self-aware wink and more than a few nods to its grandfathers (from Psycho to Halloween to the Friday the 13th dynasty), Scream skewers teen horror conventions with loving reverence while re-creating them in a modern, movie-savvy context. And so goes the series, which continues the satirical spoofing by tackling (what else?) sequels while sustaining its own self-contained mythology. Catty reporter Gale Weathers (Courteney Cox) turns grisly murders into lurid bestsellers, a cult of killer wannabes continues to hunt spunky psycho-survivor Sydney Prescott (Neve Campbell) for their 15 minutes of fame, and a cheesy movie series (Stab) develops within the movie series.

Scream remains the high point of the series--a fresh take on a genre long since collapsed into routine, but Scream 2 spoofs itself with witty humor ("Why would anyone want to do that? Sequels suck!" opines college film student Randy), and delights with more elaborate set pieces and all-new rules for surviving a horror movie sequel. The endangered veterans of the original film reunite one last time for Scream 3, which plays out on the movie set of Stab 3. (It's a trilogy within a trilogy!) With Williamson gone, replacement screenwriter Ehran Kruger tries to mine the formula one more time. It's a little tired by now, and pale imitations (Urban Legend, I Know What You Did Last Summer) have further drained the zeitgeist, but the film bubbles with bright humor, and director Craven is stylistically at the top of his game. As a trilogy, it remains both the most consistently entertaining and self-aware horror series ever made. --Sean Axmaker

Stars Neve Campbell, David Arquette, and Courteney Cox Arquette are back for more in the chilling final chapter of this phenomenally popular and frightfully entertaining trilogy! While Sidney Prescott (Campbell) lives in safely guarded seclusion, bodies begin dropping around the Hollywood set of STAB 3, the latest movie sequel based on the gruesome Woodsboro killings! And when the escalating terror finally brings her out of hiding, Sidney and other Woodsboro survivors are once again drawn into an insidious game of horror movie mayhem! But just when they thought they knew how to play by the rules, they discover that all the rules have been broken! Featuring hot newcomers Parker Posey (THE HOUSE OF YES) and Jenny McCarthy (DIAMONDS) in another stellar ensemble cast, SCREAM 3 offers an unmatched mix of thrills, laughter, and suspense that bring this spine-tingling saga to an unforgettable conclsuion!

The Last House on the Left

Future Nightmare creator and Scream weaver Wes Craven's film debut is a primitive little production that rises above its cut-rate production values and hazy, grainy patina via its grimly affecting portrait of human evil infiltrating a middle-class household. The story is adapted from Ingmar Bergman's The Virgin Spring, but the film has more in common with Sam Peckinpah's Straw Dogs as it charts the descent of a harmless married couple into methodical killers. A quartet of criminals--a distorted version of the nuclear family--kidnaps a pair of teenage girls and proceeds to ravage, rape, torture, and finally brutally murder them in the woods, unwittingly within walking distance of their rural home. The killers take refuge in the girls' own home, but when the parents discover just who they are and what they've done, they plot violent retribution.

Along with George Romero's Night of the Living Dead and Tobe Hooper's Texas Chainsaw Massacre, Craven helped redefine American horror with this debut--all three movies portray modern society crumbling into madness and horror. But, unlike his fellow directors, Craven gives his film an uncomfortable verisimilitude, setting it squarely in the heartland of modern America. While at times it's awkward and inconsistent, with distracting comic interludes, his handling of the brutal horror scenes is unsettling, and the death of the daughter is an unexpectedly quiet and lyrical moment. --Sean Axmaker

Bold, powerful and starkly realistic, this chilling cinematic debut of horror master Wes Craven (Scream) is a shocking journey into the heart of evil. Written and directed with almost unbearable dramatic tension (Chicago Sun-Times), The Last House on the Left will make you deadbolt your doors and frantically mutter: It's only a movie it's only a movie it's only a movie! Easy-going Mari Collingwood and her fun-loving friend Phyllis are on their way to a Bloodlust concert to celebrate Mari's 17th birthday when three escaped convicts kidnap and torture them. But Mari and Phyllis are fighters, and although they are drugged and beaten into unconsciousness, stuffed into a car trunk and driven into the woods for even more brutality, they are still alive...but for how long?

Swamp Thing

Horror vet Wes Craven wrote and directed this campy swamp romp adapted from the DC Comic of the same name. Adrienne Barbeau stars as cleavangelically blessed government agent Alice Cable, sent to the bayou to guard the brilliant Dr. Alec Holland. Holland is using recombinant DNA to create "a plant with an animal's aggressive power for survival." Let's hope none of that volatile secret formula gets spilled! Swamp Thing is an unusual mix of monster movie and superhero flick, but definitely an enjoyable ride. Craven deliberately uses comic-book-style wipes and transitions to keep us from taking anything too seriously, and Louis Jourdan keeps up the tone with his camp performance as the evil Arcane. Also keep an eye out for young Reggie Batts in a terrific deadpan performance as Jude, the helpful gas station attendant. --Ali Davis

Deep in Florida's darkest everglades, a brilliant scientist, Dr. Alec Holland (Ray Wise), and a sexy government agent, Alice Cable (Adrienne Barneau), have developed a secret formula that could end world hunger and change civilisation forever. Little do they know, however, that their arch nemesis, Arcane (Louis Jourdan), is plotting to steal the serum for his own selfish schemes. Looting the lab and kidnaping Cable, Arcane douses Holland with the chemicals and leaves him for dead in the swamp. Mutated by his own formula, Holland becomes "Swamp Thing"-a half plant superhero who will stop at nothing to rescue the beautiful Cable and defeat the evil Arcane...even if it costs him his life!

Vampire in Brooklyn

Eddie Murphy teamed up with shockmeister Wes Craven to make this stale attempt at a horror-comedy. Murphy had the right idea, because the concept is intriguing: He plays a vampire from the Caribbean fulfilling a prophecy to rejoin his vampire queen, who turns out to be a Brooklyn cop (Angela Bassett) who is half-bloodsucker but doesn't understand the impulses being awakened in her. Bassett is a seductive presence and Murphy looks the part: sleek, inviting, and spooky. But Craven, perhaps the most overrated horror director working, can't handle comedy--at least not intentionally--and his idea of horror here is extravagant (and not particularly convincing) makeup. --Marshall Fine

The Serpent And The Rainbow

Eight years before he scored a phenomenal hit with Scream, horror master Wes Craven made a worthy effort to "legitimize" horror with this chilling supernatural thriller, based on the best-selling book by Wade Davis. More ambitious than most horror films, this one allowed Craven to generate compelling plausibility with the fact-based story of a Harvard researcher (Bill Pullman) who travels to Haiti to procure a secret voodoo powder that places people into a state of simulated death. His investigation into the hidden world of black magic grows increasingly dangerous until he's caught in a living nightmare--a potentially deadly predicament that inspired the film's advertising tag line: "Don't bury me... I'm not dead!" Craven pays particular attention to authentic details of Haitian society and the role voodoo plays in Haitian culture, and the film gains additional atmosphere from location shooting in Haiti and the Dominican Republic. Craven would, of course, continue to thrive by making more "conventional" horror films including Scream, but this remains a fascinating departure for one of the genre's most celebrated directors. - -Jeff Shannon

The People Under The Stairs

Wes Craven, the director of The Serpent and the Rainbow and Shocker, locks you inside the most terrifying house on the street. Trapped inside a fortified home owned by a mysterious couple, a young boy is suddenly thrust into a nightmare. The boy quickly learns the true nature of the house's homicidal inhabitants and the secret creatures hidden deep within the house. Stunning visuals highlight this inventive film that the San Francisco Chronicle calls "Wes Craven's most satisfying movie."