X
- 1986
- R
- Warner Bros.
- 1 h 31 m
- 1986
- R
- Warner Bros.
- 1 h 31 m
Summary After his friend is killed by her abusive father, the new kid in town attempts to save her by implanting robotic microchips into her brain.
Directed By: Wes Craven
Written By: Diana Henstell, Bruce Joel Rubin
- 1986
- R
- Warner Bros.
- 1 h 31 m
- 1986
- R
- Warner Bros.
- 1 h 31 m
Deadly Friend
44
User Score
Available after 4 ratings
tbd
Where to Watch
Summary After his friend is killed by her abusive father, the new kid in town attempts to save her by implanting robotic microchips into her brain.
Directed By: Wes Craven
Written By: Diana Henstell, Bruce Joel Rubin
Where to Watch
Top Cast
Metascore
Mixed or Average
Based on 11 Critic Reviews
44
27% Positive
3 Reviews
3 Reviews
45% Mixed
5 Reviews
5 Reviews
27% Negative
3 Reviews
3 Reviews
Metascore
Mixed or Average
Based on 11 Critic Reviews
44
27% Positive
3 Reviews
3 Reviews
45% Mixed
5 Reviews
5 Reviews
27% Negative
3 Reviews
3 Reviews
Remains a mesmerizing time-capsule portrait of ’80s-era hopes and fears about computers.
Deadly Friend is stylish and sardonic enough to offer horror fans some knowing laughs and a pleasant relief from shrieking.
The movie also deserves a watch because of the incoherent style. It’s like getting to see two films for one. If you’re in the mood to see a lighthearted movie about childhood and becoming an adult, it’s got you covered. And if you want a gory slasher film with plenty of dark humor, it has you covered there as well.
Craven remains a savvy storyteller -- and he still jolts us with a couple of hideous frights -- but this new film lacks the skin-crawling intensity of past Craven efforts. [14 Oct 1986]
On the whole, Deadly Friend is a routine horror movie, poorly photographed (by old-time cinematographer Philip Lathrop) and poorly performed (with the exception of New York stage actress Anne Twomey, as Paul's mother).
Deadly Friend hasn’t aged well. In fact, it’s quite crappy.
Craven has proven himself a talented director of horror films on several occasions, from Last House on the Left to A Nightmare on Elm Street. But this time he's chosen a project that plays not at all to his abilities, which lie with the creation of isolated, disturbing images rather than with the careful sustaining of suspense through story-telling. [13 Oct 1986, p.5C]
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