Directed By David Gordon Green
Starring – Jamie Lee Curtis, Judy Greer, Andi Matichak
The Plot – Laurie Strode (Curtis) comes to her final confrontation with Michael Myers, the masked figure who has haunted her since she narrowly escaped his killing spree on Halloween night four decades ago.
Rated R for horror violence and bloody images, adult language, brief drug use and nudity
– John Carpenter’s lucid nightmarish return to form. This isn’t just a return to the silver screen for Curtis and Michael, it’s also one for the legendary composer, whose work on the first film still resonates with audiences forty years later. For his return, Carpenter stays true to form with the classic numbers, giving them a much needed upgrade as far as sound mixing and refurbishing are considered. But it’s in his collaboration with Daniel A. Davies that carves out what little atmosphere that the film has going for it, entrancing us with a serene sense of ominously terrifying inserts that amplify the tension in every scene of chase.
– Green is certainly a student of the game. While the film occasionally has problems toeing the line between respectful homage and downright theft, one thing is certain: David Gordon Green was definitely the man for the job. Green’s directing conjures up a sense of female empowerment rarely seen in classic horror films, but it’s definitely his eye for detail in replicating the look and presentation of Halloween that moved me miles artistically. An opening credits sequence, complete with identical text coloring and italics, remind us of the fear associated with the infamous day that Michael thrives on, and for a few minutes it feels right to indulge on nostalgia, if only for these simple-but-effective credits that competently set the precedent moving forward. Keep your eyes open for some familiar Easter eggs to past films, particularly my favorite trio of masks for the Halloween franchise that aren’t Michael’s.
– There has never been a character in this series that is remotely as interesting or developed as Jamie Lee Curtis’s Laurie Strode, and in picking up the role for the fifth time in the series we have what might be her most complex portrayal yet. This is a Laurie that feels unavoidably scarred from that one night of terror that has defined her for better or worse over the past four decades, and given the once personable Strode an enveloping of strength and persistence that compares her to Michael in terms of her life’s mission. Curtis’s dry delivery and believable progression make her one of a kind in this modern day setting, and etches a general outline of what female heroines could and should be when in the hands of an actress who has grown with the character. Jamie nails the vulnerability AND the strength of the character equally, and this film would be garbage without her.
– Plenty of gore and creative kills alike. Many people might have a problem with the amplifying of the gore in this sequel that is anything but replicated from the 78 original, but Michael’s increased anger makes sense to me because this is very much a psychopath with a thirst to kill, who has been locked up for forty years. Think about what that building thirst feels like once you are out in the free world, and you understand why this is arguably the most dominant Michael that we have seen to date. Throw in some old school practicality with effects work and wincing props, and you have enough thrills in its grasp to make this a devilishly delicious treat in an era when creativity is often cut away from.
– As for Michael, the design of the mask finally feels right again, not feeling too white in coloring, nor too clean in terms of the weathering process. It replicates Michael’s becoming of the mask that the movie touches upon, making it easier to comprehend this as Michael’s actual face. What else is delightful is the passing of the torch generations with Nick Castle portraying Michael in the scenes he doesn’t wear a mask, and James Jude Courtney when he does. What I love about this decision is that it reminds us of Michael’s human side that the other films blurred for all of the wrong reasons. This is very much an aging man who still breathes that air of fire because of his life’s mission that has kept him going, and the combination of Castle’s still-frame complete with Courtney’s stalking movements, makes this the Michael from 78, whose cerebral psychology make him every bit as dangerous as his imposing stature.
– For my money, I would be fine with a one hour film that featured only the first and third acts of this film. I say that because the whole movie is built around this inevitable confrontation with Laurie and Michael that does fortunately pay off in more ways that one. For one, there’s this incredible setting inside of Laurie’s house that has, for better or worse, become a panic room of sorts, and gives Michael a lot more to fight against rather than the typical house that he can manipulate the shadows with. This final battle not only lives up to expectations, but lives up for all of the reasons you’re not expecting. I won’t spoil what happens, but if this is the final Halloween, count me pleased.
– The dreaded second act. There’s about thirty minutes in this film that is every bit as unpleasant as it is unnecessary, and a lot of this has to do with this overabundance of filler that adds nothing to character or consistency with the rest of the film. Laurie goes missing for a few scenes, and is replaced with this awfully forced humor and dialogue that repeatedly tested my patience. If this wasn’t enough, a late act decision that violently changes an unimportant and borderline disrespectful character came and went like it had no lasting effect on me what so ever, and only highlighted how faulty this screenplay was when it tried to present something different.
– Speaking of different, there’s not a lot of it in this film. I mentioned earlier about paying homage to the Halloween franchise with these brief and weightless Easter eggs, but what doesn’t work is when you are literally duplicating scenes from other Halloween films, some of which aren’t supposed to exist in this canon, and playing them off in a way that feels desperate. This makes this movie possibly the most forgettable of the Halloween series, mainly because it doesn’t carve out a unique voice of its own, relying far too much on the success of past scenes and screenplays that were left in the past for obvious reasons.
– It’s amazing that after forty years of the knife-wielding psychopath, writers are still interested in the why without understanding that the mystery of Michael is what makes him intriguing as an antagonist. The scariest killers are the ones that happen just because (Think The Strangers), and traditionally the more you find out about Michael, the least fascinating it is. This film, while not as drastic as Rob Zombie’s for reveals, continues this annoying tradition, wasting valuable minutes along the way to paint a picture that I don’t ever require to make me enjoy one of my favorite on-screen killers more.
– Unanswered question. To anyone who has seen the ending of the 1978 “Halloween”, you’ll know that Michael gets away before the camera fades to black. So my question is what happened after to get Michael captured in this film. The movie never elaborates on this aspect, and we’re left to fill in the gaps where the screenwriters won’t. In my opinion, I would’ve liked to have included the events of “Halloween 2”, and explain that Myers burning body was rescued in the nick of time. Two attacks would also add to the believability of Laurie’s now fragile state, and keeping the brother and sister angle would explain Michael’s obsession a little more clearly with Laurie.
My Grade: 6/10 or a C