Directed By Ari Sandel
Starring – Jack Black, Wendi McLendon-Covey, Madison Iseman
The Plot – In the small town of Wardenclyffe on Halloween Night, two boys named Sonny (Jeremy Ray Taylor) and Sam (Caleel Harris) find a manuscript in an abandoned house that was previously owned by R. L. Stine (Black) called “Haunted Halloween.” When they open it, they release Slappy (Also Black) who plans to create the Halloween Apocalypse with the help of his Halloween monster allies. Now, Sonny and Sam, alongside Sonny’s sister, Sarah (Iseman) and Stine himself, must work to thwart Slappy’s plot before all is lost.
Rated PG for scary creature action and images, some thematic elements, rude humor and adult language
– Once again, Jack Black’s polished routine that is perfect for the young adult center stage. In playing two respective roles in this film for the price of one, Black commands the attention of the audience with two personalities that shine for completely different reasons. As Stine, Black is able to poke fun at exposing the fourth wall of cliches that often ridicule Stine’s real life writing, and as Slappy it’s Black’s vocal capabilities that bring to life my personal favorite character once again in these movies. Black’s sinister laugh as Slappy is one of the few unsettling moments in the film, and serves as a constant reminder of how truly lost this franchise would be without its shining star.
– Surprisingly quite a few laughs. Everything in a film is obviously scripted, but for my money it was those subtle digs at pop culture properties like Stephen King’s IT, or the Universal Monsters that really registered with me, and made this film remarkably easier to sit through. What I love about these deliveries are that they come so subtly that you almost miss them if you’re not glued to the screen, and this aspect will give “Haunted Halloween” great second watch possibilities for people who seek to dig slightly deeper in the charms of this screenplay.
– Constantly keeps moving. At 83 breezy minutes, this film is anything but an obstacle to get through, but its screenplay is one that remains persistent at pushing this story forward without dulling the audience. This does create some obvious problems with character arcs that I will get to later, but Sandel’s direction reigns at rarely giving us a moment of breather, and something usually compromising did wonders for the pacing of this film’s movements.
– Look no further for a film that competently bridges the gap of horror between child and adult. It’s obvious what this film offers for the youthful moviegoer: delicate scares that never infringe on the confidence of parents, as well as wacky slapstick humor that they will eat up like Halloween candy, but it’s in its crossover appeal with adults that is perhaps its single greatest achievement. “Haunted Halloween” never feels immature, nor does it feel too tacky on the side of rich holiday atmosphere, instead it pays homage to that demographic that grew up with these stories, and dares them to indulge themselves one more time to pass on to their own kin, making this a generational affair of sentimental importance.
– Dominic Lewis’s audible gifts to the film that craft a layer of feasting fantasy. I love a musical composer who isn’t afraid to explore emphasis in his eerie tones, and Lewis does this without ever crossing into the kind of ominous territory that would have rendered the atmosphere counterfeit. This is very much a composer who embraces the hokey side of Halloween, and his collection of haunted house favorites can easily serve as the soundtrack to any kind of October get-together that you plan.
– Un-rendered C.G effects. Initially, I had zero problems with the designs of the computer generated characters of the film. In appearance, they look every bit as believable as they do intimidating, so it was a bit of a letdown to see their movements with live action characters feel weightless during interaction. This is an example of the little things coming back to bite a production squarely in the ass, as these effects feel so foreign to the immersion that we as an audience require in registering the physical conflicts that unfold.
– Dangerously self-infatuated. It’s always been strange to me that Stine is a character in his own stories on film, but the real problem with this angle became evident in this film. “Haunted Halloween” does that thing where the writer already knows what happens, so therefore he knows what’s to come, and has no problems relating this to the audience. This renders the screenplay predictably telegraphed from a mile away, leaving any kind of surprises on the cutting room floor. The film went to this gimmick too many times for my taste, and left the Stine character as the compromising negative to oppose Black’s brilliance with playing the character.
– Bland underwritten characters. Part of my surprise in enjoying the first Goosebumps movie was the delightful personalities and relatable backstories of many characters, but “Haunted Halloween” is a noticeable regression in this department, sacrificing necessary character subplots to fill in the blanks. It doesn’t help that this young and inexperienced cast is poorly directed by Sandel in emitting what we as an audience can sink our teeth into in terms of charisma. They’re Disney Channel movie characters to a tee, and never once was I able to invest myself in their trials and tribulations.
– Disappointingly for a sequel, this one falls flat on a lot of measurements. For one, the first film is barely mentioned, but worse than this it feels like leap years away from where this story and its antagonist begins. Slappy is locked away in a chest. How he got there I have no idea. This makes no sense with how the first film began. In addition to this, his character motivation of wanting a family to feel whole is completely compromising to his personality during the first film. Then there’s his supernatural powers of telekinesis that come completely out of left field. I wouldn’t have a problem with this inclusion if it made less sense as the film goes on. For example, Slappy moves many objects and characters with his mind in the beginning, but when the conflict comes this gift is never used again. If he had, this film would be and should be fifteen minutes long, with him squashing the protagonists without problem.
– Can we please stop putting Ken Jeong in movies now? I get it, “The Hangover” was funny, and full of toilet humor from its show-stealing Asian centerpiece, but his schtick in 2018 feels about as fresh as a Foghat concert. Even for kids level of humor, Jeong’s scenes feel like a sharp knife to the spine each time the film cuts to him. His character isn’t exactly pointless, just written without a sense of direction, and Jeong’s brand of humor feels like the concrete slab tied to the feet of a character with no essential importance to the film’s creativity.