It’s time to put Halloween reboots out of their misery
I wish I could say that it was rare to see a movie as atrocious as Halloween kills, but sadly, it’s an all-too-familiar experience for audiences in the 2020s: movies you endure, waiting for them to end if you don’t have the moral courage to come out halfway, because they get no effect other than boredom.
This movie is so sloppy, it’s confusing. There are a number of ghastly performances, and at times the editing is so inept that a potentially frightening moment is canceled out by sheer visual confusion. But the bottom line is: how did director David Gordon Green ever agree to go ahead with his own rotten script, which was co-written with Danny McBride and Scott Teems, almost the same crew that brought us given the best Halloween from 2018?
At the end of Halloween kills, there’s a long, breezy Jamie Lee Curtis voiceover that I guess was added late in the process, perhaps after the screening, when the filmmakers realized just how much purity nothing they had it up there on the screen. You can imagine them thinking that maybe if Curtis, still beloved in her star role as Laurie Strode, recounted in the end that the indestructible Michael Myers was “the essence of evil,” then maybe the movie would be left out. a tolerant public. Especially so close to Halloween!
And it turns out if that was their strategy, it was the right one. Halloween kills is doing very well at the box office. Horror movies have done great business since theaters opened the post-pandemic lockdown, with A Quiet Place, Part II, The Conjuring: The Devil Made Me Do It, Candy, and others finding audiences eager to experience fictitious fears after excess terror in the real world. The generally moderate budgets and young, dedicated fan base of the horror film genre also help.
This second installment of this project Halloween The capstone trilogy wastes the goodwill gained by the first opus, which had its undeniable fascinations. This brought us Laurie Strode as a bitter and rampaging alcoholic estranged from her damaged daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) due to her seemingly paranoid obsession with Michael Myers, who had been institutionalized for forty. years. Jamie Lee Curtis’ characteristic, all-around, vanity-less performance as a crass harridan alive as an end-of-the-world preparer had so much fresh energy that it fueled the entire movie. When Myers inevitably returned – in horror movies the doomsday preparer is always right – he had a more gritty look, with a dirty, damaged mask that seemed to have received a lot of criticism over the years. It was a lovely corollary of Strode’s gray hair, deep wrinkles, and hard, upturned mouth.
Halloween kills picks up where that movie left off, with Michael Myers seemingly burnt alive in the fire trap set by three generations of Strode women, and Laurie Strode being rushed to the ER with a knife wound in her stomach, screaming in the process fire trucks, “No no No! Let it burn!”
Sadly, Laurie Strode is unconscious in the hospital for some time after this, and it is a testament to Jamie Lee Curtis’ charisma that the film’s vitality drops to a very low level in her absence. Anthony Michael Hall as Tommy Doyle, the boy teenage babysitter Laurie Strode saved from Michael Myers in the first Halloween (1978), rather comes to the fore from a plot point of view, and he stomps and shouts a lot “Evil dies tonight!” as the leader of the local vigilante mafia – but he’s just a boring badass in the role and no substitute for Curtis.
It is suspected that the writers of the film had a vague idea that the formation of a lynching mob in Haddonfield, Illinois, showing how the townspeople allowed a single evil character to drive them so mad with fear and fear. hate that they become evil as well, may have been intended to provide a topical resonance, marked by Trump. There are numerous dismal shots of the crowd jostling each other, committing random acts of violence against another escapee from the mental institution where Myers was held, without verifying that it is Myers, and they are clearly meant to be be meaningful âmessageâ plans. We have met the enemy, and this is us!
But, like much of the rest of the movie, it doesn’t really work. If anything, it seems like it is time for the city to organize itself for action, instead of facing an immortal killer in groups of one or two incompetent at a time – although, admittedly, it is It’s a terrible shame that they’ve decided to follow a tall blond thug played by Anthony Michael Hall.
There are a ton of respectful stories uncovered in this trilogy, including period flashbacks, with so many stories involving people who met Michael Myers at the time and lived to tell the tale that it weighs. throughout the film. Will Patton returns as Officer Frank Hawkins, who is now haunted by his failure to kill Michael Myers when he was fortunate enough to do so decades ago. He exchanges a series of nostalgic âDo you remember. . . ? âhospital trivia with Laurie Strode in stretchers side by side.
The filmmakers are even bringing back what is presumably a computer-generated (CGI) version of beloved old Ham Donald Pleasence as Michael’s former keeper, Dr. Samuel Loomis. That is, CGI, unless the actors can come out of their graves in their desire for a big straight paycheck, shouting, “Has Michael killed yet?”
Well of course he killed again. He always kills again, and he himself is impossible to kill, but the only people who seem unable to find out are the citizens of the town of Haddonfield, who fall prey to Myers. We always give horror movies some leeway when it comes to skeptical characters, as people who don’t believe in the monster are a key part of the genre.
But there is a limit, and this Halloween the trilogy has long since reached him. It is purely ridiculous at this point that anyone in Haddonfield professes not to believe in this prolific killer or still needs to hear his story – Anthony Michael Hall as Tommy Doyle puts it, badly, replacing his act of calling d bird at the local talent show. The city’s body count is very high at this point.
So it’s not scary, it’s just irritating to see wave after wave of idiots grabbing baseball bats, knives and guns they can’t shoot, wandering through deserted parks and dark wooded areas. after Michael Myers. Until the very end of the film, none of the characters have a plan of attack. And too often, a moron will tell other morons to “wait here” as they enter a dark house to look for him alone, for no good reason. This includes the surviving veterans of the Michael Myers attacks.
Myers doesn’t have any new ideas either. He only has a few moves in this movie, and he repeats them a few times. He has a dog-like habit of tilting his head once he has killed someone, while lying on the ground after having his throat slit, as if reacting in a way animal with the strange sounds they make. The third time he’s done it, it’s just exasperating, and it’s time to say, “Bad bitch, go lie down.”
But, as always when a new Halloween the movie comes out, it gives people a good reason to watch the real one Halloween again, the original 1978 John Carpenter Brilliant that has inspired the franchise – so far – of twelve films. Bow your head in reverence for the genius of John Carpenter in making this foundational film that was so good it continues to galvanize mostly gruesome sequels.