Review by LL Soares
When I was a kid, the original HALLOWEEN (1978) was a big deal. Everyone was talking about it, and it played in theaters for months. I saw it at a drive-in theater, something I miss a lot. HALLOWEEN wasn’t just one of the first slasher films that precluded the onslaught of similar films in the 1980s, it was one of the best, thanks to director John Carpenter. Not only did Carpenter direct it, he also co-wrote it with Debra Hill, and composed the unforgettable soundtrack music. The tale of Michael Myers, who kills his sister as a child, and is locked away in a sanitarium, until he escapes as an adult and goes on a killing spree, HALLOWEEN worked because it was simple, straight-forward, and highly effective. There was no complex, convoluted plot, no prolonged explanations, just a guy in a William Shatner mask painted white, running around and killing people with ruthless precision.
As you might have heard, the new HALLOWEEN (2018) was written as a direct sequel to the first film, jettisoning not only the sequels to the original HALLOWEEN, but also the reboot by Rob Zombie in 2007 and his HALLOWEEN II in 2009. Zombie’s remakes didn’t get much love when they came out, and even I, a hardcore Rob Z fan, consider them the weakest of his films, but you can’t blame a guy for trying, and he did try to bring his own particular spin to them. At least he had the vision to cast Malcolm McDowell (A CLOCKWORK ORANGE, 1971, CALIGULA, 1979) in the role of Dr. Loomis (originally portrayed by the great Donald Pleasence in the 1978 film).
The new one is directed by David Gordon Green, an interesting director whose first feature film was the much-praised GEORGE WASHINGTON (2000), about a group kids living in poverty who try to stave off boredom. His films also include the comedies PINEAPPLE EXPRESS (2008) and THE SITTER (2011), and the “based on a true story” drama STRONGER (2017). Green wrote the screenplay for the new HALLOWEEN with actor Danny McBride (one of the stars of PINEAPPLE EXPRESS, and who also collaborated with Green on the HBO shows EASTBOUND AND DOWN, 2009 – 2013, and VICE PRINCIPALS, 2016 -2017), and writer Jeff Fradley, who also helped writer some episodes of VICE PRINCIPALS.
Jamie Lee Curtis became a star in the original HALLOWEEN with her role as Laurie Strode, one of a group of teenagers Myers attacks, and the only one to survive. In a lot of ways, the new movie is her story, because Curtis is back as Laurie, 40 years older, and still traumatized by the events of the 1978 film. In fact, Michael Myers has left such an indelible stamp on her, that she’s pretty much made him the focus of her entire life, becoming an expert with an array of weapons (mostly guns), turning her home into a series of booby-traps, and ruining just about every human relationship she’s ever had, including the one with her daughter, Karen (the great Judy Greer, also in THE DESCENDANTS, 2011, DAWN OF THE PLANET OF THE APES, 2014, and ANT-MAN, 2015, and seemingly a hundred other things), who was taken away from her by family services when she was 12. Laurie had a chance to instruct her daughter in the ways of self-defense, trying to drill her survivalist mentality into her, but as an adult, Karen is a psychologist who is basically trying to put her life back together. There’s also Allyson (Andi Matichak), Karen’s daughter, who wonders why her mom and her grandmother are so estranged, and who seeks Laurie out, with the intention of putting the family back together.
Meanwhile, Michael has been in a mental hospital for 40 years and has not spoken one word. It’s not that he can’t talk, it’s that he refuses to. His long-time doctor, the great Dr. Loomis, has since died, and we now have Dr. Sartain (Haluk Bilginer) trying to draw Michael out of his shell, to no avail. Two investigative reporters (Jefferson Hall and Dana Haines) come to the hospital to research Michael for their popular podcast, and open up a whole can of worms in the process, almost as if their presence reminds Michael what he’s supposed to be doing – namely killing.
While being transported to another, worse, hospital (since he doesn’t seem to be making any progress), Michael, of course, escapes, and he and his lust for killing are once again set free onto the world. He immediately high-tails it back to Haddonfield, Illinois, where the first movie took place, to pick up where he left off.
But Laurie’s been preparing for this her entire adult life. So she’s ready for Michael. Or is she?
Also along for the ride this time are Dylan Arnold (who just finished playing the nerdy kid Twig on the CMT network’s final seasons of the show NASHVILLE), as Cameron, Allyson’s boyfriend; Will Patton (of THE MOTHMAN PROPHECIES, 2002, and THE FOURTH KIND, 2009) as Officer Hawkins, who says he was one of the deputies who responded to the original murder back when Michael Myers was a little kid; and Jibrail Nantambu as a funny little kid named Julian whose babysitter is doomed. Michael Myers himself is played by both Nick Castle (who played Michael in the original movie), and, when he’s in action, by James Jude Courtney.
Let’s look at what works and what doesn’t in the new HALLOWEEN, shall we?
First off, the direction is strong and assured. I like David Gordon Green as a director, and the cast is very good, especially Curtis, who still has her acting chops, and then some. If nothing else, this movie is a chance to give an underrated actress a showcase, and a chance to shine. By focusing so much on Laurie Strode, the movie gives us an interesting perspective, which I like.
Another big plus is the fact that John Carpenter is along for the ride this time, as one of the producers, and as the composer of the movie’s soundtrack. The music provides variations on what he did in the first movie, but it’s top-notch, and almost a character itself.
I also liked Michael Myers here. The way he moved, the way he just randomly kills, the way he is drawn to weapons, made him very effective. Back in 1978, he seemed like the human equivalent of the shark in JAWS, a sort of mindless killing machine, and the new movie captures that very well.
And I really liked the last scene in this movie. Unfortunately, we have to weed through an uneven storyline to get there.
What Doesn’t Work
A lot of mainstream critics really seemed to like this one, but that’s not necessarily a good thing. A lot of mainstream critics, as a rule, hate most horror movies and are not especially fans of the genre. They also, almost always, are horrible judges of what is considered scary. When HEREDITARY, a very good movie, started riding the wave of film festival buzz earlier this year, before coming to regular theaters, most critics said it was one of the scariest movies of all time. It wasn’t. It was good, but I didn’t find it particularly scary. A lot of the same critics are saying the new HALLOWEEN is scary. It’s not. For a horror movie, the scares are few.
Part of this is probably because the director and writers mostly work on comedies (although Green started out making dramas). People assume anyone can make a horror movie, but that’s not really the case. Or rather, anyone can make a horror movie. But not everyone can make an effective/scary one. In fact, really scary movies are few and far between.
I thought the script here was very uneven. I found the whole reporters/sanitarium stuff that we start off with to be stilted – and it provided a very weak beginning to the film that almost had me bummed out right away. It bounced back a little once the reporters are out of the picture, but you really don’t want a lame start for a horror film.
There are several times where its pacing just seems off. While Michael himself is good, they just don’t do enough with him. And while Laurie’s trauma/preparation was an interesting spin on the character, most of the story just left me cold by the time the end credits rolled.
In Carpenter’s original, you couldn’t take your eyes off the screen. It was riveting from beginning to end. And I didn’t feel that way with the new movie at all. There were parts I liked, but it didn’t seem like a fully-functioning whole. There were missteps.
And what the hell is up with the title? It’s not a remake or a reboot, but a sequel 40 years later, so why call it HALLOWEEN? Just to create confusion? It’s like in comic books where every once in awhile Marvel or DC will end all of their series and start over again with all-new Number One Issues, so that when you talk about #1, you have to include the date, so people know which one you’re talking about. Really, there is no reason why the new movie has to be called simply HALLOWEEN. I’m not completely sure why, but it irritates the hell out of me.
I wanted to love the new HALLOWEEN, but all I could muster was a like. It’s better than some of the other sequels, though I still have a lot of affection for HALLOWEEN III: SEASON OF THE WITCH (1982), which was the only film in the series to have nothing to do with Michael Myers. For diehard fans of Myers and the HALLOWEEN franchise, the new movie is worth seeing. But don’t buy into the hype and go in expecting something that it will blow you away and get you as revved up as Carpenter’s original. The new one isn’t even close.
But, based on the weekend box office, it looks like it’s doing well enough to revive the franchise.
And that’s okay. Not terrific, but okay.
Which is kind of my overall reaction to this one.
I give it two and a half knives out of five.
© Copyright 2018 by LL Soares
LL Soares gives HALLOWEEN (2018) – 2 1/2 knives