(3 / 4)
After a string of misguided sequels, Halloween’s refocus on Laurie Strode combined with nostalgia fueled moments proves that the boogeyman is still very much alive.
After more than a decade’s worth of sequels, reboots, and retcons, the Halloween series has been left with the unenviable task of figuring out where to go next with the iconic masked serial killer. Rather than completely reboot the series yet again, writer and director David Gordon Green has concocted the simple solution of merely continuing from where the beloved 1978 classic left off and ignoring every entry that has followed. Despite being a drastic maneuver, the film wisely focuses on original material and avoids throwing out the baby with the bathwater, as this is arguably the first sequel that feels remotely up to par with original.
From the title card featuring a squashed pumpkin slowly being rejuvenated with the haunting score from John Carpenter blaring, it is clear that this sequel has fans of the first entry in mind, as these images alone are likely to quicken fans’ pulses. The sequel begins 40 years after the infamous murders in Haddenfield where we are introduced to two investigative journalists covering the anniversary of the murderous event. We are immediately reunited with the James Shatner mask clad killer, Michael Myers, who is now held in a rehabilitation hospital but remains just as disturbed and deranged as in the past. After journalists Aaron (Jefferson Hall) and Dana (Rhian Rees) are unable to obtain any new info from Myers, the two travel to Laurie Strode’s (Jamie Lee Curtis) place of residence.
Strode is no longer the “final girl” victim from her past as we are greeted with a much sharper and prudent incarnation of the character. It is apparent from her home essentially serving as a giant panic room that Strode never emotionally moved on from the attempt on her life by Myers in 1978. Despite a strained relationship with her daughter Karen (Judy Greer) who resents the cautious manner in which she was raised, Laurie has maintained a healthy relationship with her granddaughter, Allyson (Andi Matichak). When the inevitable occurs and Michael Myers escapes from prison, Strode is impelled to keep her family safe and finally put an end to the nightmare by killing her assailant once and for all.
The biggest triumph of Halloween comes as a surprise when it is clear that the focus of the film is on the evolution of Laurie Strode rather than mostly Michael Myers. Strode’s psychological journey as a woman hell-bent on finishing what Myers began 40 years ago is fascinating, no doubt thanks to Jamie Lee Curtis’ pitch perfect performance. The new angle of Strode becoming more like the very thing she was terrorized by is brilliantly unexpected. When the two iconic characters are inevitably reunited, what follows is a surprisingly haunting sequence. The confrontation is just as much about two people trying to kill one another as it is about Strode facing her demons and the reality of what this man has cost her in terms of the lifetime of planning she has devoted to her vengeance.
Prior to seeing this film, I was concerned that despite purporting itself to be a sequel, Halloween would essentially be a remake instead (much like many aspects of Star Wars: The Force Awakens). While many of the events depicted are almost a carbon copy, there are enough creative tweaks that cleverly subvert fan expectations. Iconic images such as Michael Myers disguising himself with a ghost costume as well as his descent from the second story of a house are flipped in unexpected ways. These clever subversions, combined with Laurie Strode’s brilliant character arc, allow the film to feel like a proper sequel, while also readapting what fans love about the original.
The biggest issue with the film comes from the poorly written supporting characters. Aside from the three Strode women, almost every character behaves in foolish and unrealistic manners. The worst culprits are Karen’s bumbling husband Ray (Toby Huss) and Myers’ psychiatrist handler Dr. Sartain (Haluk Bilginer). While the illogically foolish actions of Ray and many of the teenage victims can be accepted as an homage to many of the similarly brainless victims of the original, Dr. Sartain is a different story.
Sartain’s actions in the third act struck me as completely ludicrous, which is likely due to his motivations and character development being insufficient during earlier portions of the film. As a result, his actions which drive much of the conclusion, felt like the result of a weak screenplay rather than a compelling twist.
Overall Halloween masterfully manages to be something fresh as well as something familiar enough to please nostalgia crazed fans of the original. Much like Myers himself, this entry demonstrates that you can never quite kill the boogeyman as there is still a lot of life left in this series. As it stands though, this chapter is a surprisingly efficient way of providing closure to the original after having one of the messiest strings of sequels in film history.
