Thursday, March 12, 2009
Wednesday, March 11, 2009
Scary Movie Trivia Questions And Answers
1. If you are a teenager living on Elm Street what should you never do?
A. Go to sleep
B. Play with dolls
C. Go to the prom
D. Have sex
A. Go to sleep
TOPICS: We all know from "Nightmare on Elm Street" that your dreams can get you killed by Freddy Krueger. Written by Craven, a former English teacher, the film's premise is the question of where the line between dreams and reality lies. The villain, Freddy Krueger, exists in the "dream world" and yet can kill in the "real world".
2. If you are up on your movie lore, then you also know that you should never accept what job on Halloween?
A. Hotel clerk
B. Baby sitter
C. Camp counselor
D. Traveling salesman
B. Baby sitter
TOPICS: Halloween (also known as John Carpenter's Halloween) is a 1978 American independent horror film set in the fictional Midwest town of Haddonfield, Illinois on Halloween. Originally titled The Babysitter Murders, the film centers on Michael Myers' escape from a psychiatric hospital, his murdering of teenagers, and Dr. Loomis's attempts to track and stop him.
3. What should tip you off to a bad motel to check in to?
A. No one else has checked in for weeks
B. The clerk talks too much about his mother
C. The clerk's name is Norman
D. You are a thief
B. The clerk talks too much about his mother
TOPICS: At the end of the film, a forensic psychiatrist, Dr. Fred Richmond (Oakland), explains to Lila, Sam and the authorities that Bates' mother, though dead, lives on in Norman's psyche. Norman was so dominated by his mother while she lived, and so guilt-ridden for murdering her eight years earlier, that he tried to erase the crime from his mind by bringing his mother back to life.
4. If you are looking for a job on Crystal Lake what offer should you not accept?
A. Mailman
B. Truck driver
C. Camp cook
D. Camp counselor
D. Camp counselor
TOPICS: In Friday the 13th, we learn it is a bad job to be a counselor at Camp Crystal Lake where the counselors die extremely bloody deaths at the hands of an unseen killer who turns out to be the cook whose son Jason drowned 25 years earlier while neglected by romancing counselors.
5. British actor Boris Karloff created a cinematic icon when he played the role of what monster?
A. Dracula
B. Werewolf
C. Frankenstein
D. Alien
C. Frankenstein
TOPICS: British actor Boris Karloff played the role of the monster in the 1931 film "Frankenstein". The ghoulish makeup he wore and the lurching walk he adopted in the film have become conventions, even cliches, of horror films. And beyond the individual techniques Karloff used when playing the role of the monster, he created a feeling of sympathy for the character, a technique that has since become a more general trait of successful horror films, whose monsters often gain intensity by fascinating audiences as well as repelling them.
6. Béla Lugosi was a Hungarian/American actor best known for his portrayal of what monster?
A. Dracula
B. Werewolf
C. Frankenstein
D. Alien
A. Dracula
TOPICS: Béla Ferenc Dezso Blaskó, better known as Béla Lugosi, was best known for his portrayal of Count Dracula in the American Broadway stage production, and subsequent film, of Bram Stoker's classic vampire story.
7. In this 1970s book and novel, a mother believes her child (played by Linda Blair in the movie) is what?
A. An alien
B. The devil
C. Possessed by a demon
D. Bearing the devil's baby
C. Possessed by a demon
TOPICS: Novelist William Peter Blatty based his 1971 best-seller on the last known Catholic-sanctioned exorcism in the United States. Blatty transformed the little boy in the 1949 incident into a little girl named Regan, played by 14-year-old Linda Blair in the 1973 movie. Suddenly prone to fits and bizarre behavior, Regan proves quite a handful for her actress-mother, Chris MacNeil (played by Ellen Burstyn, although Blatty reportedly based the character on his next-door neighbor Shirley MacLaine). When Regan gets completely out of hand, Chris calls in young priest Father Karras (Jason Miller), who becomes convinced that the girl is possessed by the Devil and that they must call in an exorcist: namely, Father Merrin (Max von Sydow). His foe proves to be no run-of-the-mill demon, and both the priest and the girl suffer numerous horrors during their struggles.
8. In a horror movie, you should worry if you encounter a doll named what?
A. Smiley
B. Bonnie
C. Chucky
D. Dolly
C. Chucky
TOPICS:Charles Lee Ray, or Chucky for short is a fictional character from the Child's Play series of horror films, the original screenplay was credited as written by Don Mancini, John Lafia and Tom Holland. He is the primary villain featured in the series. Chucky is a doll that was possessed by means of voodoo magic by serial killer Charles Lee Ray, the notorious Lakeshore Strangler. During most of his time as a doll, Chucky chased after a boy named Andy Barclay because Andy was the first person he told his real name to as a doll.
9. Movies also teach us that if your son warns of "redrum" you better distance yourself from your husband pronto. But in "The Shining" all the husband is worried about is what?
A. Working too hard
B. Playing too hard
C. Becoming a murderer
D. Being murdered
A. Working too hard
TOPICS: "All work and no play makes Jack a dull boy" -- or, rather, a homicidal boy in Stanley Kubrick's eerie 1980 adaptation of Stephen King's horror novel. With wife Wendy (Shelley Duvall) and psychic son Danny (Danny Lloyd) in tow, frustrated writer Jack Torrance (Jack Nicholson) takes a job as the winter caretaker at the opulently ominous, mountain-locked Overlook Hotel so that he can write in peace. Before the Overlook is vacated for the Torrances, the manager (Barry Nelson) informs Jack that a previous caretaker went crazy and slaughtered his family. Settling into their routine, Jack sets up shop in a cavernous lounge with strict orders not to be disturbed. Danny's alter ego, "Tony," however, starts warning of "redrum" as Danny is plagued by more blood-soaked visions of the past, and a blocked Jack starts visiting the hotel bar for a few visions of his own. Frightened by her husband's behavior, Wendy soon discovers what Jack has really been doing in his study all day, and what the hotel has done to Jack.
10. You can never really go home again, or at least you shouldn't if your neighbors belong to this profession?
A. Slaughterhouse workers
B. Morticians
C. Chefs
D. Veterinarians
A. Slaughterhouse workers
TOPICS: Tobe Hooper's influential cult classic, The Texas Chain Saw Massacre, continues the subgenre of horror films based on the life and "career" of Wisconsin serial killer Ed Gein. When Sally Hardesty (Marilyn Burns) hears that the Texas cemetery where her grandfather is buried has been vandalized, she gathers her wheelchair-bound brother Franklin (Paul A. Partain) and several other friends together to see if grandpa's remains are still in one piece. While in the area, Sally and her friends decide to visit grandfather's old farmhouse. Unfortunately, a family of homicidal slaughterhouse workers who take their job home with them have taken over the house next door. Included amongst the brood is Leatherface (Gunnar Hansen), a chainsaw-wielding human horror show who wears a face mask made out of human skin. Sally's friends are rapidly exterminated one-by-one by the next-door neighbors, leaving only Sally left to fight off Leatherface and his clan.
Looking for more free trivia questions and answers and interesting facts then visit http://triviabydawggone.com/
Article Source: http://EzineArticles.com/?expert=Deanna_Mascle
Tuesday, March 10, 2009
Monday, March 9, 2009
Nostalgia: Black and White Halloween Horror Hits
When it came to my father’s movie theatres in the small western Illinois towns of
Carthage and Warsaw, I was one puerile youth who bubbled over with promotional ideas on how to locally ballyhoo the low-budget horror films he played.
The Warsaw Theatre, a Quonset hut building on Main Street in a town of two thousand people overlooking the Mississippi River, was, in the late 1950s and early 1960s, open only on Friday, Saturday, and Sunday nights and sometimes played a different picture each night. The Woodbine Theatre in Carthage, twenty miles east of the river and with a larger population, tried to remain open every night, but rarely played a single film as long as a week. In the Warsaw Theatre, my father often ran double-feature material – older films and re-issues, eighty minute color westerns billed with black-and-white “lower half” films. Occasionally, when he listened to my pleas, he would run horror films, and these were the films I would go out of my way to promote. This was a very small town, so our limited resources left me with a few opportunities to be imaginative, creating lobby displays, storefront cardboard displays, and telephone posters – all made of cardboard and ink.
Some horror films of the era, however, came equipped with their own promotional gimmicks – the most well-known being those created by schlock director and producer William Castle. His first gimmick was in 1958, a promo involving a Lloyd’s of London insurance policy covering the movie patron in the unlikely event that he or she died of fright while watching MACABRE.
Garard - 2
MACABRE is a small-budgeted but tightly paced black-and-white thriller with a few shots inserted for obvious shock value: a bloody faced corpse which falls over inside a mausoleum, a small dummy corpse with a skull face in a casket shown during a funeral at night, the sudden hand on the shoulder of a doctor who is searching through a cemetery for his daughter who has supposedly been buried alive. The final resolution is perhaps the biggest shock of all, perhaps because it is quite plausible. Greedy human beings, such as in the next Castle film HOUSE ON HAUNTED HILL, are the real horrors, not supernatural beings. Nonetheless, the shocks are still effective – at least for audiences not requiring gore (as in the remake of the film with the same title). To this date, only two Castle films have been remade with updated gore: HOUSE ON HAUNTED HILL and THIRTEEN GHOSTS. Teen audiences today, at least in America, would probably find the original versions of the films to be quite tame.*
When Allied Artist’s MACABRE played at the Warsaw Theatre, I ordered extra 8 x 10 still photos from the film from National Screen Service and decorated the window of a local drug store with a cardboard cut-out cemetery. I drew my own tombstones, but the druggist balked when I wrote the names of local people on the graves. I meant it as a joke, but black humor (sick humor) was not in.
* In the same year, Hammer Films released its version of the Dracula story with the title, in the US, HORROR OF DRACULA. In 1958, it was startling to some audiences and quite tame to others. When I showed the film in the 1990s to a college class in Atlanta, they found it to be slow-paced in spots and not very frightening or shocking. However, when I showed the film to a British literature class in China in 2004, several college girls asked to be dismissed from the classroom. They were thoroughly frightened, and I was shocked by their reaction.
Garard -3
Despite my cardboard artistry, however, the film attracted only a small portion of our small population. We had the usual football games as competition.
For a Halloween midnight showing one year, Dad played two hokey horror films geared for teenage audiences: I WAS A TEENAGE FRANKENSTEIN and THE RETURN OF DRACULA. For this late 1950s double-bill, I constructed a cardboard castle over one of the inside exits next to the screen and ran a wire from it to the projection booth. I draped a section of white sheet over a hangar and tied a string to the hanger. During a high point of one of the films, I stood in the exit and pulled on the string, hoping to pull the ghost across the top of the audience. The ghost came out of the projection booth window on cue, but the hanger stuck halfway down. I jerked harder on the string and it snapped, leaving my deus ex machina suspended above the audience until the end of the showing when the houselights revealed my attempted stunt.
More successful was my huge cobweb made out of regular white yarn that I draped over the doorways and the one-sheet and 14 x 36 frames in the lobby.
Both I WAS A TEENAGE FRANKENSTIEN and THE RETURN OF DRACULA feature their own internal gimmicks – the use of color in otherwise black-and-white films. One may recall how a short color segment was used in the 1940s films THE PICTURE OF DORIAN GRAY and THE PORTRAIT OF JENNY; in each case, only the portrait of the title character was shown in color in sharp contrast with the rest of the film. Both inserted shots are quite effective. Less can be said the use of color in the aforementioned Halloween hits. In the Frankenstein film, color is used only at the end when the monster destroys himself through shock therapy. The scene is not shocking, only surprising (as in Why?).
Garard - 4
The Dracula film, a much more frightening film (because of skillful directing and editing, not internal gimmicks), uses color for the close shot where vampire hunters plunge a stake into the heart of a female vampire. Color gushing out of a heart wound in this black-and-white film is much more effective as a shocking contrast than the sudden jolt of color used in Castle’s THE TINGLER, which shows a bathtub filled with blood and a human arm reaching out to a woman who is deathly afraid of the sight of blood.
In 1960, Nikolai Gogal’s short story “The Vij” was transformed into an Italian horror film by shock-for-shock’s sake director Mario Bava. The film was released in the US as BLACK SUNDAY (and THE MASK OF SATAN in Europe). BLACK SUNDAY was later used as the title of a John Frankenheimer film which dealt with pre-9-11 terrorists trying to decimate a football stadium full of fans. The first BLACK SUNDAY was released by American-International Pictures, a company famous for producing its own low-budgeted but heavily promoted quickies like I WAS A TEENAGE FRANKENSTEIN.
The 1960s BLACK SUNDAY, however, is unlike other formula flicks for teens at the drive-in theatres. Clever if self-conscious camera work utilizes an abundance of zoom lens shots and focuses our attention on the gamut of gothic trappings brought to life in low key black-and-white; some of the scenes feature stark imagery as crisp as anything shown in Antonioni’s L’AVVENTURA, while others effectively use soft focus to create a nightmarish world. It is almost a textbook of gothic examples: black-robed hooded figures executing witches with a spike-studded mask before the titles are even shown, paintings changing and rotating to reveal secret passageways, trap doors opening onto pits with long spikes at the bottom, lanterns floating in mid-air, corpses found hanging in corridors, and huge bats flying around in the crypt.
Garard - 5
Barbara Steele, identified in many Italian horror flicks (and even in Fellini’s landmark film 8 ½) and Roger Corman’s The Pit and the Pendulum, plays two roles in BLACK SUNDAY, a witch executed in the pre-title sequence and a lovely princess menaced by her look-alike witch ancestor who is accidentally brought back to life. When the witch is brought to life two hundred years after her execution, her lovely face, and the face of her vampire lover, is covered with the holes made by the spikes in the mask. A doctor visiting her tomb discovers her coffin and unwittingly breaks the glass over her mask-encased face by striking at a large bat. He cuts his hand on the broken glass, creating an unlikely chain of events: blood from his cut drips conveniently into the eye socket of the reposing witch, the cross over her coffin has been accidentally demolished, and her coffin is blown free as if dynamited.
Zoom lenses are used effectively throughout – an unusual feat in itself since the temptation is to overuse that lens, something that the Italians became famous for doing in later films. When the witch’s vampire-lover glides into a room, the father of the innocent princess holds up a cross. The camera zooms back from the cross, and as the vampire is repelled, the camera lens zooms in on the door as it closes behind him.
The greatest flaw in the film is the poorly post-dubbed dialogue, reminding small-town theatre and drive-in audiences that even the presence of Brits Barbara Steele and John Richardson portraying characters with long Russian names cannot conceal the fact that this is an Italian film. By this time, they were gradually being exposed to the long-running series of films made in color from Edgar Allen Poe stories, so the foreign cast and black-and-white footage might have been comparatively disappointing. The Poe films needed no ballyhooing, but for BLACK SUNDAY, I did take illustrations from the large press book and paste them onto large cardboard posters accompanied by my hand-lettering.
Garard - 6
One American film produced many years before BLACK SUNDAY and promoted with the usual ballyhoo – the title and advertisements having little to do with the content – was the ultra low-budget Roger Corman film THE UNDEAD (1956). For example, the title would hardly suggest that this is actually a type of time-travel film, one that I showed in a science-fiction time-travel class.
Once again, witches are on hand. Instead of being dispatched by spike-studded masks, however, they are beheaded by a muscular (but still hooded) executioner. Readers of Nathaniel Hawthorne’s “Young Goodman Brown” might be surprised to see Satan make an appearance during a Walpurgis Night orgy of corpse dancing and soul-trading. To welcome Satan to the festivities in his honor, the severed head of a tavern-owner must be delivered by buxom witch Allyson Hayes. She and her gnome-like friend Billy Barty can transform themselves into black cats or flying bats whenever they find it necessary to do so.
Despite the presence of shape-shifting witches, the film’s theme includes reincarnation and regression (a form of time travel). Pamela Duncan is regressed through her past lives to medieval England where she is falsely accused of being a witch. She is faced with the choice of putting her head down on the execution block with other accused witches and thus allowed herself to be reincarnated in future lives, or of escaping with her handsome knight lover and alter the future. This execution scene, with only the thump of the basket to suggest the beheadings, is well-done, particularly for a low-budget film.
Garard - 7
Some local stations and some cable networks might occasionally run these films that were once part of dusk-to-dawn drive in movie fare or special Halloween shows like my father used to run. If you are fortunate, you might be able to find these old black-and-white classic horror films in DVD catalogues. Then you can have your own living room dusk-to-dawn marathons for those friends of yours who appreciate films that are frightening in a subtle way and didn’t need to be grossed out with gruesome NIGHTMARE ON ELM STREET and FRIDAY THE 13TH killings. You can even make cobwebs out of string and hang them about the sofa.
End
Copyright - All rights reserved.
Charles Garard is a PhD in literature and film who taught for 16 years at a private college in Atlanta and recently taught for two years in China. He grew up around his father's small-town theatres in western Illinois and has used memories from his experiences in two novels about small-town life. His purpose in this article is to bring back memories of older black-and-white horror films that he used to promote in his father's theatre while a young man.
Article Source: http://EzineArticles.com/?expert=Charles_Garard
Sunday, March 8, 2009
Monsters and Demons: A Short History of the Horror Film
Going to the movies may not seem like a novel way for little kids to spend an afternoon. But have you ever brought your child to see a Disney flick and ended up viewing trailers for Jeepers Creepers 2 or Freddie vs. Jason? When this happened in a Birmingham, Alabama cinema last year, parents became concerned about what the main attraction would be. But before the managers at the cinema could turn off the previews, the main attraction came on, and it wasn’t Piglet. Instead they were presented with the gruesome opening of Wrong Turn, an 18-rated slasher flick in much the same vein as the previews.
Is there a more genre more criticized than the horror film? Not bloody likely. There’s the argument that horror films are socially and morally irresponsible, even influencing some people to imitate the brutal methods of the killers portrayed on screen. Horror films actually have the opposite effect on normal people – sick minds will commit atrocities anyway. Watching horror films lets us encounter our secret fears, share them with other viewers, and eliminate the terror by meeting it head-on.
The genre is almost as old as cinema itself – the silent short film Le Manoir du Diable directed by Georges Mèliès in 1896 was the first horror movie and the first vampire flick. The movie only lasted two minutes, but audiences loved it, and Mèliès took pleasure in giving them even more devils and skeletons.
In the early 1900’s German filmmakers created the first horror-themed feature films, and director Paul Wegener enjoyed great success with his version of the old Jewish folk tale Der Golem in 1913 (which he remade – to even greater success – in 1920). This fable about an enormous clay figure, which is brought to life by an antiquarian and then fights against its forced servitude, was a clear precursor to the many monster movies that flourished in Hollywood during the Thirties.
The most enduring early German horror film is probably F.W. Murnau’s Nosferatu (1922), the first feature-length vampire movie. But one movie paved the way for the “serious” horror film – and art cinema in general – Robert Wiene’s work of genius The Cabinet of Dr. Caligari, still held up as an model of the potent creativity of cinema even to this day.
Early Hollywood drama dabbles in horror themes including versions of The Hunchback of Notre Dame (1923) starring Lon Chaney, the first American horror-film movie star.
It was in the early 1930’s that Universal Studios, created the modern horror film genre, bringing to the screen a series of successful gothic-steeped features including Dracula, Frankenstein (both 1931) and The Mummy (1932) – all of which spawned numerous sequels. No other studio had as much success with the genre (even if some of the films made at Paramount and MGM were better).
In the nuclear-charged atmosphere of the 1950’s the tone of horror films shifted away from the gothic and towards the modern. Aliens took over the local cinema, if not the world, and they were not at all interested in extending the tentacle of friendship. Humanity had to overcome endless threats from Outside: alien invasions, and deadly mutations to people, plants, and insects. Two of the most popular films of the period were The Thing From Another World (1951) and Invasion of the Bodysnatchers (1956).
Horror movies became a lot more lurid – and gorier – in the late Fifties as the technical side of cinematography became easier and cheaper. This era saw the rise of studios centered exclusively on horror, particularly British production company Hammer Films, which focused on bloody remakes of traditional horror stories, often starring Peter Cushing and Christopher Lee, and American International Pictures (AIP), which made a series of Edgar Allan Poe themed films starring Vincent Price.
The early 1960’s saw the release of two films that sought to close the gap between the subject matter and the viewer, and involve the latter in the reprehensible deeds shown on screen. One was Michael Powell’s Peeping Tom, the other was a very low-budget film called Psycho, both using all-too-human monsters rather than supernatural ones to scare the audience.
When Rosemary’s Baby began ringing tills in the late Sixties, horror film budgets rose significantly, and many top names jumped at the chance to show off their theatrical skills in a horror pic. By that time, a public fascination with the occult led to a series of serious, supernatural-themed, often explicitly gruesome horror movies. The Exorcist (1973) broke all records for a horror film, and led to the commercial success of The Omen.
In 1975 Jaws, directed by a young Steven Spielberg, became the highest grossing film ever. The genre fractured somewhat in the late 1970’s, with mainstream Hollywood focusing on disaster movies such as The Towering Inferno while independent filmmakers came up with disturbing and explicit gore-fests such as Tobe Hooper’s The Texas Chainsaw Massacre.
John Carpenter’s Halloween introduced the teens-threatened-by-superhuman-evil theme that would be copied in dozens of increasingly violent movies throughout the 1980’s including the long running Friday the 13th and A Nightmare on Elm Street series. Horror movies turned to self-mocking irony and downright parody in the 1990’s – the teenagers in Scream often made reference to the history of horror movies. Only 1999’s surprise independent hit The Blair Witch Project attempted regular scares.
So go ahead, take a stroll through these favourite horror movies of all time. But pick your way very carefully, this walk is not for the faint of heart. And if you happen to hear what sounds like some subdued whispering or soft creepy grating sounds, just pay no attention to it. It’s probably only the wind.
About The Author
Astrid Bullen is a freelance writer and movie buff living in St. George’s, Grenada. Visit her cool movie website at http://aboutfilm.info.
Article Source: http://EzineArticles.com/?expert=Astrid_Bullen
Saturday, March 7, 2009
Nightmare On Elm Street Video games
LJN released one title for the NES, and Monarch Software the other for the Commodore 64 and IBM PC compatibles.
Up to four players control characters who jump and punch their way through Elm Street locations as they collect the bones of Freddy Krueger to place them in a furnace and end his reign of terror. Each character can withstand only four hits from opponents before losing a life. With four players two of the characters appear as females.
An on-screen meter slowly diminishes (more quickly when sustaining damage), representing how close a particular character is to falling asleep. Obtaining cups of coffee within the game restores characters' sleep bar. When any character's sleep bar empties, all the players are transported to the dream world, where enemies take on new appearances and are more difficult to defeat. In the dream world, coffee cups are replaced with radios, which return the characters to the normal world and difficulty.
Also in the dream world, icons appear that, once collected, permit transformation into one of three "Dream Warriors". Each warrior has a ranged attack and improved movement: ninja (throwing stars, jump kick), acrobat (javelins, somersault), and magician (fireballs, hovering). These roles are available to all players, but only usable in the dream world. If a character remains asleep too long, the film's theme song plays and a combative encounter with Freddy ensues.
Upon collecting all the bones in a level, the player is automatically put in the dream world and battles Freddy, who takes on a special form similar to those presented in the films. The final level is set at Elm Street High School as players navigate to the boiler room to burn Freddy's bones. Here one final battle with Freddy Krueger occurs.
The game can utilize the NES Four Score or NES Satellite accessories to enable four-player gameplay.
C64 / IBM-PC release
A Nightmare on Elm Street
Image:PC elm st cover.jpg
PC A Nightmare on Elm Street cover
Developer(s) Westwood Associates
Publisher(s) Monarch Software
Platform(s) Comodore 64, PC
Release date(s) 1989
Genre(s) Action
Mode(s) single player
Rating(s) ESRB: Rating Pending (RP)=
System requirements PC:
* DOS
* minimum CPU class 80286
* min. OS class DOS 3.0 - 3.3
* min. RAM 256 KB
* CGS composite (16 colors)
* EGA or compatible
* VGA or compatible
* speakers
Input methods PC: keyboard, mouse
The game produced by Monarch Software differs greatly from that for the NES. Developed by Westwood Associates, its role-playing elements and overhead viewpoint bear some similarity to Gauntlet. The player chooses to play as either Kincaid, Kristen, Will, Nancy, or Taryn on a quest to save Joey and defeat Freddy.
The player must locate keys to open doors. Weapons and items are scattered about the levels or can be purchased from vending machines. Enemies are varied, from skeletons to wheelchairs. Freddy assumes the role of "boss monster" and transforms into a snake, much like his appearance in A Nightmare on Elm Street 3: Dream Warriors.
Friday, March 6, 2009
Nightmare On Elm Street Box office
| Film | Release date (US) | Budget | Box office revenue | Reference | ||
| United States | Foreign | Worldwide | ||||
| 1. A Nightmare on Elm Street | November 9, 1984 | $1,800,000[21] | $25,504,513 | $25,504,513 | [22] | |
| 2. A Nightmare on Elm Street 2: Freddy's Revenge | November 1, 1985 | $3,000,000[23] | $29,999,213 | $29,999,213 | [24] | |
| 3. A Nightmare on Elm Street 3: Dream Warriors | February 27, 1987 | $5,000,000[25] | $44,793,222 | $44,793,222 | [26] | |
| 4. A Nightmare on Elm Street 4: The Dream Master | August 19, 1988 | $13,000,000[27] | $49,369,899 | $49,369,899 | [28] | |
| 5. A Nightmare on Elm Street 5: The Dream Child | August 11, 1989 | $6,000,000[29] | $22,168,359 | $22,168,359 | [30] | |
| 6. Freddy's Dead: The Final Nightmare | September 13, 1991 | $5,000,000[31] | $34,872,033 | $34,872,033 | [32] | |
| 7. Wes Craven's New Nightmare | October 14, 1994 | $18,090,181 | $18,090,181 | [33] | ||
| 8. Freddy vs. Jason | August 15, 2003 | $25,000,000 | $82,622,655 | $32,286,175 | $114,908,830 | [34] |
| A Nightmare on Elm Street film series | $58,800,000 | $307,420,075 | $32,286,175 | $339,706,250 | ||