HALLOWEEN II (1981) and HALLOWEEN (2018): A COMPARISON IN HORROR!

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HALLOWEEN II (1981) and HALLOWEEN (2018): A COMPARISON IN HORROR!

MAJOR SPOILER WARNING! In order to properly compare these two films, I have to give DETAILED SPOILERS. If you haven’t seen Halloween II (1981) or Halloween (2018), there are MASSIVE SPOILERS BELOW for each film. You have been warned!

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Comparison In Horror is back!…and in this installment the comparison is between the two direct sequels to John Carpenter’s original classic Halloween. In 1981, the success of Halloween led to an inevitable sequel, Halloween II. Recently, for Halloween‘s 40th anniversary, a new film, Halloween (2018), was made that went back to the source and erased all the previous sequels, as a direct continuation of Carpenter’s original story. It’s created a unique situation where one classic film now has two direct sequels…remember, Halloween H2O, acknowledges the story elements of Halloween II, so it is not quite a direct sequel to the 1978 classic. Two direct sequels that take place forty years apart, let’s take a look these two films and compare…

(Click on the highlighted movie titles to go to the full length reviews and on the photos to enlarge them!)

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THE STORY

Halloween II takes place on the same night of the original, basically picking up right where the first film leaves off. The flick continues with an injured Laurie Strode (Jaime Lee Curtis) being taken to a hospital in Haddonfield, while Dr. Loomis (Donald Pleasence) and the police scour the neighborhood for the still at large Michael Myers (stuntman Dick Warlock). Unbeknownst to them, Michael has discovered Laurie’s whereabouts and heads to the hospital to find her, leaving a trail of bodies along the way. Once there, he begins to decimate the hospital staff, one by one, in search of his prey. It is in this film that it is revealed that Laurie is actually Michael’s other sister and he has come home to finish the job he started 15 years ago.

Halloween (2018) opens forty years later to find Laurie Strode (Jamie Lee Curtis) living in solitude after some failed marriages and loosing custody of her only daughter Karen (Judy Greer). She’s taught herself to survive and fight and is in a constant state of preparedness for Michael Myers’ (Nick Castle and James Jude Courtney) possible return. As for Michael, he was recaptured after that fateful night and has been re-incarcerated in the Smith’s Grove Asylum ever since. A pair of British journalists (Rhian Rees and Jefferson Hall) visit Michael, on the eve of his transfer to an even more secure institution, and try to evoke a response by presenting him with his old mask. Of course, that night, the transfer bus suffers an accident and Michael escapes, reclaims his mask and heads off to Haddonfield in time for Halloween. Hearing of his escape, Laurie intends to protect her daughter and granddaughter (Andi Matichak) and goes on the hunt to confront Michael once and for all. By ignoring all the sequels, this film eliminates the subplot that Laurie is Michael’s sister and returns her to a random victim.

Except for both films being direct sequels to John Carpenter’s Halloween, the stories are vastly different.

 

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MICHAEL MYERS

Obviously the Michael Myers in 1981’s Halloween II is the same as in John Carpenter’s Halloweenas the film picks up minutes after the first movie. He’s about twenty-one years-old and is a brutal killer, murdering anyone he encounters during his pursuit of Laurie. It starts out as random neighbors, as he flees from the police and Loomis, to various hospital staff once he finds Laurie at Haddonfield Hospital. He uses a variety of weapons or his hands to brutally dispatch his victims. His mask is still new, stolen earlier that day from a general store. There are hints that there is something supernatural about him, a pure evil more than human.

Halloween (2018)‘s Michael is a Michael forty years older than when we…or Laurie…last saw him. He’s got grey hair, is balding and covered in scars from his first encounter with Laurie. Once reunited with his mask, it too is showing wear and tear, with cracks and thinning hair much like it’s wearer. Despite being 61 years-old, he is still a strong, brutal and efficient killer murdering any innocents he encounters on his way back to Haddenfield and Laurie. In comparison, he seems a bit more vicious here, using his bare hands more often and otherwise mostly sticking with a simple kitchen knife, ironically obtained in a nice homage to Halloween II. He still prefers gas station coveralls and stalking women home alone or babysitting. The supernatural hints are downplayed here, save for a few lines in a nice homage/vocal cameo by Dr. Loomis.

In neither film does he ever speak and any emotions are marked by a shifting of his head or an intensifying in his movements. While he seems more interested in babysitters than their charges in the 1978 and 1981 films, 2018’s Michael has no qualms killing a young boy with a gun…but will still spare a baby. In the 1981 sequel, he started to appear more invincible and unkillable like his cinematic rival Jason Voorhees. In the 2018 sequel, he is back to being more human and can be hurt or injured.

 

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LAURIE STRODE

The Laurie Strodes portrayed in both films are a vast contrast due to the proximity and/or passage of time to the original film’s events.

In Halloween II Laurie is a terrified high school girl who is still traumatized from her encounter with Michael that night. She is basically a damsel in distress, continually on the run from Myers once he reacquires her. She actually seems to have a little less fight in her than she did in her earlier battle with the masked killer, though understandable being wounded and sedated by the hospital staff. Loomis once again comes to her rescue.

In Halloween (2018) we find a Laurie Strode who has been haunted for forty years as a result of the attack by Michael Myers and the murder of her friends. Aside from a few failed marriages and having a daughter from one, Laurie has lived a solitary life where she constantly prepares for Michael’s return…in fact she actually prays for it. The only way Laurie can purge the events of that Halloween night in 1978 from her mind is to kill the man who traumatized her and turned her into the paranoid recluse she now is. When she hears of Michael’s second escape, instead of hiding, Laurie arms herself and the hunter becomes the hunted. Laurie is more Sarah Conner than damsel in David Gordon Green’s film and Jamie Lee Curtis gives one of the best performances of her career.

 

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THE SETTINGS

The settings for both of these films is Haddonfield, Illinois and despite taking place forty years apart, not much has changed. In both films Haddonfield is a small suburban midwestern town that seems to celebrate Halloween enthusiastically. Halloween II ‘s town is still mostly unaware there is a killer in their midst and are only starting to hear the news that there has been an escape at Smith’s Grove and murders committed locally. The original Myers murder of his sister Judith, fifteen years earlier, is almost an urban legend at this point, especially to the town’s younger generations. A lot of the action takes place in the local hospital where Laurie has been admitted.

Same goes for Halloween (2018)‘s Haddonfield which has almost forgotten about the murders of forty years ago, save for the reminder of the eccentric woman who lives secluded in the woods. The new generation of teens know very little about Myers and that night and are too busy partying and trick or treating to realize a killer is on his way home again. Much like Halloween II, the Myers story is treated as an urban legend by everyone but for Laurie and a save few, including her daughter and granddaughter. The action takes place first at Smith’s Grove and then moves to Haddonfield with a last act at Laurie’s fortress home.

 

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THE OPENING SCENES

Rick Rosenthal’s 1981 sequel opens at Halloween‘s climax with Michael vanished and Loomis pursuing him into the street, much to the chagrin of a next-door neighbor. The opening sets the tone of the movie by quickly recounting the closing moments of the first film and then establishing that the danger is still out there. After a very effective opening credits scene where a pumpkin splits open to reveal a skull, we get Michael’s theft of a knife and first kill to make sure the dread is re-established.

Halloween (2018)  Opens with a pair of British podcasters visiting Michael at the Smith Grove Asylum. Journalist Aaron Korey (Jefferson Hall) uses some connections to borrow Michael’s mask and brazenly shows it to him to no effect. The other inmates react and it is their reaction that gives the opening an unsettling creepiness. After a very effective title sequence with a rotten pumpkin slowly reforming, we then follow Korey and his partner Dana (Rhian Rees) as they visit the reclusive Laurie, thus re-introducing us to her after all these years.

Both openings serve their respective stories well. Though in terms of sheer effectiveness, Halloween II is definitely the more potent opening, when going from Loomis’ classic “You don’t know what death is!” line to the pumpkin/skull credits, in getting us in the mood to be scared. Halloween (2018) only really gets going at a gas station scene which amusingly homages Halloween 4.

 

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THE ENDINGS

Both films end in fiery conflagrations with Michael at the receiving end.

In Halloween II, Michael bursts in as Loomis and Laurie are hiding in an operating room. Blinded by some well placed gunshots, Michael is lured into the center of the room as Laurie escapes. A wounded Loomis ignites the oxygen tanks causing a massive explosion. Myers walks out of the fire engulfed in flames before collapsing. Carpenter intended this to be the end of Michael Myers, though he would return for five more sequels before being “re-imagined” by Rob Zombie.

Halloween (2018) has Michael and Laurie engaged in a final(?) showdown at Laurie’s remote fortress house in the woods. She traps Michael in the cellar and then ignites the house which was always fitted to be a trap for the serial killer. Michael stares up at her as the room becomes engulfed in flames around him. Next we see the room, it is completely in flames, yet we see no sign of Michael. As we do hear his trademarked heavy breathing during the end credits, we are led to believe David Gordon Green is not done with the saga of Michael and Laurie quite yet.

 

 

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MISC

Halloween II is directed by Rick Rosenthal from a script by John Carpenter and Debra Hill, while Halloween (2018) is directed by David Gordon Green from a script by he, Danny McBride and Jeff Fradley. Both films are scored by Carpenter himself, with collaborations from Alan Howarth on the 1981 film and son Cody and Daniel Davies on the 2018 film. Both films look great with Dean Cundey doing the cinematography on Halloween II and Michael Simmonds on Halloween (2018). Both films feature graphic violence which is well represented by their respective make-up effects departments. As the recipient of such, both flicks have characters that are obviously there just to be Michael fodder. Each film does make good use of spooky Halloween imagery and were both box office hits with Halloween (2018) coming in just under the original film when tickets are adjusted for inflation.*

*as per Box Office Mojo

 

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IN CONCLUSION

Both films have their flaws and both have their merits. Both films effectively continue the story, but from completely different points in the timeline. One movie beginning where the first left off and the other continuing the story four decades later. As in all cases such as this, it’s up to the individual to choose a favorite. On a personal level, I’ll go with Halloween II as it’s an 80s slasher after all…my favorite kind…and flaws aside, it’s still the last Michael Myers film to really feel like a Halloween movie with Carpenter scoring and Dean Cundey doing cinematography…and let’s not forget the sadly missed presence of Donald Pleasence as Loomis. Halloween (2018), certainly got a number of things right, and does include a great performance from the queen herself. It also stumbled too, especially with it’s Loomis wannabe Dr. Sartain (Haluk Bilginer) and a failed subplot involving him. The 2018 film does have a strong police presence in Will Patton’s Deputy Hawkins who makes a nice replacement for the original part I and II’s Sheriff Brackett (Charles Cyphers) and Deputy Gary Hunt (Hunter von Leer). Addressing issues such as the long term effects on an attack victim, Green’s film has more substance, though Rosenthal’s sequel is simply more fun. Either way, Michael Myers fans win, as we probably haven’t seen the last of him. 🎃

-MonsterZero NJ

Check out more editions of A Comparison In Horror here!

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HORROR YOU MIGHT HAVE MISSED: HALLOWEEN (2018)

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HALLOWEEN (2018)

(Clicking the highlighted links brings you to corresponding reviews and articles here at The Movie Madhouse!)

It’s the 40th anniversary of John Carpenter’s Halloween and so there is no surprise that there is a new Michael Myers film this year. This film hits the reset button and rejects all the other sequels and remakes and is a direct continuation of the first film, picking up the story 40 years later…

Halloween 2018 opens to find Laurie Strode (Jamie Lee Curtis) living in solitude after some failed marriages and loosing custody of her only daughter Karen (Judy Greer). She’s taught herself to survive and fight and is in a constant state of preparedness for Michael Myers’ (Nick Castle and James Jude Courtney) possible return. As for Michael, he was recaptured after that fateful night and has been incarcerated in the Smith’s Grove Asylum ever since. A pair of British journalists (Rhian Rees and Jefferson Hall) visit Michael, on the eve of his transfer to an even more secure institution, and try to evoke a response by presenting him with his old mask. Of course, that night, the transfer bus suffers an accident and Michael escapes, reclaims his mask and heads off to Haddonfield in time for Halloween. But Laurie intends to protect her daughter and granddaughter (Andi Matichak) and goes on the hunt to confront Michael once and for all.

John Carpenter returns to the series to executive produce, along with Jamie Lee Curtis. He also co-wrote the score with son Cody Carpenter and Daniel Davies. The film itself is directed by David Gordon Green (Pineapple Express) who co-wrote with Danny McBride and Jeff Fradley for Blumhouse and Miramax. Background in comedy aside, Green delivers what is probably the best of the post Halloween III sequels, though technically that is not saying much. It also feels much more like a Halloween film than Rob Zombie’s efforts, but those are their own thing and exist in their own universe. It’s not perfect and still can’t come close to the original, but it does provide some intense scenes, especially in the last act confrontation. There is some brutal violence and Myers hasn’t mellowed in his old age (he’s about 61 here) as he still has a fondness for babysitters, anyone home alone…and or course, the Strode women. The film’s drawbacks are mostly script problems. The character of Loomis protégée, Dr. Sartain (Haluk Bilginer) seems shoehorned into the story, just so it has another Loomis. He doesn’t provide any useful exposition and as Michael hasn’t spoken in 40 years, he can’t know anything much more about him than Loomis did. There is also a last act plot twist involving him which simply doesn’t work and serves only to set up one of the film’s many conveniences. The flick also never maintains a constant feeling of dread as did the original. It’s never really scary, though it does get intense and there are some suspenseful moments. Michael’s killings in Haddonfield seem far more random than before. In the original he stalked Laurie’s friends, here it’s just randomly picked people to add body count before the last reel showdown. It works, but still seems like filler. When that showdown comes, it is intense and delivers what we came for and Green does pay nice homage to the original and some of the sequels it chooses to ignore. It also looks great, Green has a good visual eye and Haddonfield looks the most like Haddonfield since it did in 1981’s Halloween II.

Green also gets good work out of most of his cast. Jamie Lee Curtis is great as the emotionally troubled survivalist that Laurie Strode has become. If her character evokes the transformation of Sarah Conner from The Terminator to it’s sequel, T2: Judgement Day, it’s probably intentional…and it works. She’s still the queen of final girls. Greer is very good as her somewhat estranged daughter and it’s a shame this talented actress constantly gets these second banana supporting roles. Andi Matichak was solid as Strode’s granddaughter Ally. She seems to take more after her grandmother than her mother, though due to the story trajectory, she takes a backseat to Curtis in terms of final girl duty. Will Patton was solid as the local sheriff, Haluk Bilginer is no Donald Pleasence as Sartain, and Rees and Hall were suitable in their brief roles as the British journalists who rattle the wrong cage. Last, but certainly not least, Nick Castle and James Jude Courtney combine to make an imposing Myers, who is more threatening than he was in any of the post Halloween III, pre-Zombie sequels.

Overall, Halloween 2018 was a suitable enough sequel, though not without it’s flaws and it’s no classic. Director Green gave us some intense scenes and some brutally violent moments, as well as, a strong last act confrontation. His script let’s us down a bit, with some really contrived conveniences and a Loomis replacement that wasn’t necessary and who suffered one of the worst plot twists of the film. The continual sense of dread Carpenter established was missing and Michael’s kills seemed especially random and there to “kill” time as we awaited his reunion with Laurie. Curtis is still queen of the final girls forty years later and Dr. Sartain aside, most of the cast and characters worked, even if some were obvious Michael fodder.

Halloween 1978 is a masterpiece and a horror classic, so one can’t expect the same from any of the sequels. Most of them sucked, anyway, making it easy for this film to be able to at least hold it’s ground against the original three…and flaws aside, it does. Stay through the credits.

-MonsterZero NJ

Rated 3 three carving knives. Happy Halloween 🎃!

 

 

 

 

 

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HALLOWEEN and IT FOLLOWS: A COMPARISON IN HORROR!

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HALLOWEEN and IT FOLLOWS: A COMPARISON IN HORROR!

MAJOR SPOILER WARNING! In order to properly compare these two films, I have to give DETAILED SPOILERS. If you haven’t seen John Carpenter’s Halloween or David Robert Mitchell’s It Follows, there are MASSIVE SPOILERS BELOW for each film. You have been warned!

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When sitting in my seat at New York’s Angelika Film Center and David Robert Mitchell’s It Follows was about to begin, I was wondering, based on all the hype, if I might be witnessing today’s generation find their “Halloween“. Once the film was over and now after repeat viewings, I feel that these films are a lot alike in many ways. Whether Mitchell’s flick will someday be considered a true classic, like Carpenter’s masterpiece, only time will tell. The two films, though have a lot in common and whether they are revered on equal levels at some point, it is worth looking at those similarities now…

(Click on the highlighted movie titles to go to the full length reviews and on the photos to enlarge them!)

THE STORY

John Carpenter’s classic Halloween has a young boy murdering his own sister on Halloween night. Fifteen years later Michael Myers breaks out of Smith Grove Sanitarium and returns to his home town of Haddonfield, Illinois with his psychiatrist (Donald Pleasence) in hot pursuit. Michael randomly picks high school student Laurie Strode (Jamie Lee Curtis)…remember, it wan’t until Halloween II that we found out she was Michael’s baby sister…and begins to relentlessly stalk her and her friends. Michael leaves a trail of bodies in his wake as he tracks down young Laurie while she babysits on Halloween night.

It Follows has some sort of vengeful entity passed on to pretty college student Jay (Maika Monroe) through sexual intercourse. This demonic entity relentlessly stalks Jay, taking the form of anyone it wishes and only she and the one who passed it on to her can see it. It will stop at nothing to kill Jay…unless she passes it on to another through sex…as she and her friends seek to somehow evade or destroy it.

There are stark differences in plot details, but basically both flicks have a young woman targeted and stalked by a relentless, malevolent force.

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THE ANTAGONISTS

One of the things that makes Halloween so effective is the randomness of it’s killer. Evoking the feeling it could happen anytime, any place, to anyone. Michael Myers is an average little boy who on one Halloween night, takes up a knife and slaughters his sister. He is immediately incarcerated and over the years, remains a silent vessel of some kind of growing, intense evil that is never explained. For no outward reason, he chooses to escape and return home the night before Halloween, 15 years later. He picks Laurie Strode at random and just starts to follow her relentlessly, then murdering her friends before finally coming after her. He can be slowed down and injured, but apparently not stopped. Whatever Laurie and Dr. Loomis throw at him, he keeps getting back up. He wears an ominous Halloween mask and never speaks, nor seems to take any outward pleasure out of his violent acts. He is just an malevolent juggernaut that won’t stop until he gets what he wants. His motives and what drives him are a mystery.

The unnamed entity of It Follows is similar in many respects. Jay is seemingly picked at random by Hugh (Jake Weary) to have the entity passed onto. Once it has been, it pursues Jay relentlessly. Unlike Myers, it can assume any guise as it does. Sometimes it is in the form of an old woman, sometimes a tall man and even appears as Greg (Daniel Zovatto) and his mother, when Jay passes it on to him and it comes to kill him. It’s true form may be more demonic as the wound it gives Paul (Keir Gilchrist) appears to be claw marks. While the entity seems far more supernatural than Myers, and can only be seen by it’s victim, it also seems like it can be physically wounded and slowed down, though not stopped. It is methodical and patient much like Haddonfield’s infamous killer and also never speaks or seems to truly revel in it’s acts. A big difference, though is the entity will only kill it’s target. It only harms someone else, as with Paul, if they directly get in it’s way. In this, Halloween‘s Myers leaves a far larger body count.

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THE FINAL GIRLS/HEROINES

Here is a point where there are some vast differences, probably more due to a sign of the changing times, but Jay and Laurie are very different young women, despite their mutual resilience. Laurie Strode is the quintessential girl-next-door. She’s dedicated to her school work, very pretty, but dresses conservatively and she is still quite the virgin. She is also very shy around boys. Jay Height, on the other hand, is a few years older and is not only a sexy young woman who is very comfortable around boys, but very sexually active as well. The whole plot of It Follows is started with a sexual encounter she has in the back seat of a boy’s car…on only their second date. Again, it’s almost four decades after Halloween, so the portrayal of women and youths in movies has changed and the society they grew up in, is a lot different than it was in 1978. For example, from the brief meeting with Laurie’s dad, we can see she comes from a good, loving home with caring parents. She’s courteous and polite. Jay, in contrast, comes from a broken home with an alcoholic mother. She curses and is promiscuous and rebellious. With her mother almost always in a stupor, she has only her friends to turn to. Unlike Laurie, there is no Dr. Loomis waiting in the wings to save the day, either.

Both films carry the time-honored horror film themes about the dangers of casual sex, that their respective heroines’ peril represents. In contrast, the virginal Laurie survives, while her horny friends die, while not only does promiscuous Jay’s fate remain uncertain, it is casual sex that got her in trouble in the first place.

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THE SETTINGS

Here there are equal parts similarities and differences. Both film’s have a suburban setting, but very different suburbs. Haddonfield is more of a Norman Rockwell all-American neighborhood with white picket fences, well manicured lawns and trees everywhere. Jay lives in rundown, suburban Detroit where paint is cracking, there are old beat-up cars in the driveways and not every house looks lived in. Where Carpenter used the Halloween time of year to establish a mood, with leaves blowing and cloudy fall days giving way to nights filled with pumpkins and trick-or-treaters, Mitchell uses the desolate look of a dying community to give his chiller it’s feeling of desolation and isolation. Jay’s neighborhood is disturbingly void of activity both day and night while Haddonefield is filled with playing children. It gives us the feeling that Jay and friend’s are all alone…we rarely see an adult…while Halloween gives us an almost idyllic family community unaware and unprepared for the evil that has entered it’s peaceful streets. Two separate methods of using settings to establishing fear and dread, which both films have in abundance.

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THE OPENING SCENES

Both movies have great opening scenes that really establish the mood and tone. Halloween opens on October 31st, 1963. We see pretty Judith Myers being watched as she makes out with, then makes love to, her boyfriend. After he leaves, the observer takes up a kitchen knife and we find it is Judith’s little brother Michael, who then brutally slaughters his nearly naked sister for no apparent reason. His horrified parents arrive home in time to see their little boy standing outside the house holding a bloody knife and staring blankly into space.

It Follows opens with a pan across the Detroit neighborhood as the sun sets when pretty Annie (Bailey Spry) in lingerie and heels bursts out of her house. She looks terrified despite assuring her inquiring neighbor she’s fine. The girl runs back into the house and emerges with her keys, blowing past her concerned father and getting in her car and leaving. We then see her alone on a beach, lit only with her car’s headlights, tearfully telling her father on the phone that she loves him. As she looks in the distance in terror, at the tree line lit by her car’s red break lights, we get an intense feeling of dread even before we cut to the following morning with Annie’s body lying in the sand in a horrifyingly brutalized condition.

Both openings are perfect for setting us up for what is to come, starting us off with an atmosphere of fear and foreboding.

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THE ENDINGS

Here’s where Halloween really comes out on top. Carpenter’s classic and Mitchell’s films both have ambiguous endings, but only Halloween really pulls it off. After a very intense battle with Michael Myers, Dr. Loomis comes and shoots the masked killer repeatedly till he falls off a balcony and hits the ground…presumedly dead. As Loomis tries to comfort Laurie she asks if it was the ‘Boogie Man’…Loomis replies with an ominous “As a matter of fact it was.” We then see that Michael’s body is gone. It’s very effective and leaves us chilled long after the credits roll. He’s still out there…somewhere. A perfectly spooky open ending with a classic line that still resonates.

It Follows drops the ball a bit by not quite knowing when to stop. Jay and friends have an intense battle with “It” as they lure it into the high school pool where Paul finally shoots it while it’s underwater and trying to drown Jay. Jay looks over the edge of the pool to see it ominously filling with an expanding cloud of blood. Is it dead? We’re not sure. Then the film goes on, having Jay return home and finally sleeping with Paul, who has crushed on her for years. They ask each other if they feel ‘different’ and decide they don’t. After Paul’s declining to pass it on to a pair of hookers…if it’s even still following them…the film cuts to Paul and Jay walking down the street holding hands while there is another person in the distance behind them…and then just ends. It’s supposed to leave us feeling unsure if the entity was defeated or not, but just seems abrupt. The added sex scene with Paul is motivationally unclear, especially after Jay was so guilty over what happened to Greg. It gives us the impression that the story is going to continue, but then just ends. It’s more abrupt than ominous and personally, left me unsatisfied. In my humble opinion…and while I respect the filmmaker’s vision…I would have ended it as Jay looked into the blood-filled pool. The sex scene with Paul doesn’t really add anything and doesn’t further the story. It also gives the intense pool scene a feeling of not having gone anywhere and deflates it’s impact as the film continues on with a new plot point that doesn’t resolve anything either.

Carpenter knew to end Halloween at the right point, while we’re still catching our breath. Mitchell let’s us wind down and then continues the story a bit before his ambiguous ending and thus it gives the appearance of just ending suddenly…and un-satisfyingly. Basically the only real stumble he makes with this film.

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MISC.

There are other similarities. Both films have excellent cinematography and shot framing. John Carpenter’s shot framing has always been impeccable and the moody yet vibrant cinematography of Dean Cundey really makes it effective. Cundey uses shadow brilliantly and Halloween truly looks like the holiday it represents. David Robert Mitchell sights Carpenter as an influence and it shows. Much like Bereavement‘s Stevan Mena, Mitchell has learned well from the master and he frames his shots exceptionally. He is backed up by some sumptuous digital cinematography by Mike Gioulakis, who like Cundey, knows how to use light and shadow to his advantage and he gives the rundown streets of Detroit a sense of hopelessness that fits along with the film’s mood.

Also adding atmosphere for both film’s are their electronic scores. Carpenter’s score for Halloween is legendary and it brilliantly highlights what’s going on in the film, setting the mood for every frame. The same can be said for Disaterpeace’s electronic score for It Follows. A bit more complex than Carpenter’s perfectly minimalist score, it also adds a lot of mood and atmosphere even adding ominous touches when the film is in quieter moments, as Carpenter did with his keyboards.

Finally, both films got gradual releases that slowly expanded from the weeks of their premieres. Staggered releases weren’t uncommon in the 70s and Halloween slowly expanded it’s release and thus it’s reputation grew and began to precede it, as it was regionally released across the country from late October through November. It Follows was supposed to have a small four theater release in mid-March…which is when I saw it in NYC…and then open on VOD a week later. It did so well in those four locations that the VOD release was postponed and the film added more and more theaters over the following few weeks till it achieved a full wide release on 3/27/15 and a solid gross for a low budget film originally slated for VOD.

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So is It Follows the Halloween of today’s generation? By way of comparison, in many ways, it is. The true test will be years from now when we see if horror fans still revere and talk about it or…if it turns out to be a ‘horror of the moment’ and fade away with the next big thing. Only time will tell. Personally, I think it falls a few steps short, but is still a solid and refreshingly offbeat horror flick that should stand the test of time well, if not quite as importantly regarded as Carpenter’s classic masterpiece.

-MonsterZero NJ

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HALLOWEEN RETURNS?

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I wanted to wait till there was some official news and apparently there is…Michael Myers is set to return! Dimension Films confirmed rumors that a new Halloween film/sequel will start filming next month under the title Halloween Returns. The film is being written by Patrick Melton and Michael Dunstan…who are responsible for The Collector series, of which I am not a fan, and some of the weaker Saw sequels. The film will also be directed by Dunstan who helmed both installments of The Collector series, as well. While Dimension did not reveal story details, Moviehole.net…who broke the story yesterday… claims to have a source who revealed this about the upcoming film:

“Halloween Returns” will pit a new group of Haddonfield youngsters against Myers. The now 18-year-old child of one of Myers’ victims plays a central role along with the child of a cop whose long been obsessed with Myers’ case, even putting it before his own daughter. Myers is now on death row and the two kids with their own personal vendettas against the killer sneak in to watch his execution. But when things go awry and Myers escapes, the pair, along with their friends, find themselves in the firing line.”

ShockTillYouDrop.com has also claimed to have found out that it will be a sequel to the 1981 Halloween II and will ignore all the sequels and remakes that came after. The story will feature the return of Hunter Von Leer’s Officer Gary Hunt, who is now a Michael Myers obsessed sheriff.

While I can’t say I am a fan of Dunstan and Melton’s collaborations, I am also not a big fan of the Halloween sequels after Season Of The Witch, so, I am cautiously intrigued.

-MonsterZero NJ

Sources: Arrow In The Head, Moviehole, ShockTillYouDrop

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HORROR YOU MIGHT HAVE MISSED: BEHIND THE MASK: THE RISE OF LESLIE VERNON (2006)

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BEHIND THE MASK: THE RISE OF LESLIE VERNON (2006)

(Clicking the highlighted links brings you to corresponding reviews and articles here at The Movie Madhouse!)

Amusing and clever mockumentary has a film crew (Angela Goethals as Taylor, Ben Pace as Doug and Britain Spellings as Todd) documenting the efforts of a man who calls himself Leslie Vernon (Nathan Baesel) and who plans to join Freddy, Jason and Michael Myers as one of the all time great killer icons. Leslie is said to have been killed by an angry mob of townsfolk, after he murdered his own parents, when he was a child. He has now returned to the small town of Glen Echo as an adult, like his iconic heroes, and plans his revenge. He has invited the film crew to follow him as he trains, gets advice from a retired serial killer (Walking Dead’s Scott Wilson), picks his virginal final girl, Kelly Curtis (Kate Lang Johnson), and plans to murder her friends and take her on at the old farmhouse where he was born. At first the crew is as enthusiastic as Leslie, till it becomes more and more apparent that he is very serious and they are practically on their way to being accessories to murder. When the big night arrives to slaughter the teens at the abandoned farmhouse, the film crew has a change of heart that, unfortunately, put’s them directly in the plot for this horror film come frighteningly to life.

This movie is a lot of fun, especially if you are a horror/slasher movie fan and know all the horror tropes that Leslie giddily lays out to the eager journalists. It’s very entertaining to see how methodically he plans this to mirror the type of horror films we all watch and love, down to the littlest detail. The movie let’s you in on the joke from the start and as Vernon explains the whole process from selecting his victims to planning their demise, the film slowly starts to become a slasher movie in itself, much to the dismay of the documentary crew members. At first they are in a state of denial, but soon they realize this guy is serious, people are going to die and they are in the middle of it. Directed by Scott Glosserman from his script with David J. Stieve, this is a very inventive and loving homage to the late 70s-80s slasher genre that not only has a real blast sending-up that genre, by presenting such a film from the killer’s point of view, but also gives us some very cool nods and homages to those films as well. We are treated to appearances by horror vets Kane Hodder, Zelda Rubenstein and Robert Englund, who plays the “Dr. Loomis” role of Doc Halloran…or the “Ahab” as Leslie calls it, in reference to Moby Dick’s obsessed pursuer. The rest of the cast all do a good job at playing their roles both in documentary form and then as participants in an actual horror movie. The best thing of all is that Glosserman and company slowly take this from ingenious send-up to an actual slasher and it works perfectly. What starts as an fun faux-documentary detailing Leslie’s meticulous preparation, becomes a very serious slasher in it’s last act and gives us some very clever twists worthy of one of the films it’s paying homage to. It’s a really fun ride and it’s sad this film never really got the attention it was due and Glosserman hasn’t been given a chance to show us more of his stuff. Adding to the effectiveness is a worthy horror score by Gordy Haab (Once it becomes an actually horror film) and some nice cinematography by Jaron Presant.

As a huge fan of the horror films of the era this film pays tribute, I had a blast of a good time with this. It’s a fun comedy/horror that shares it’s love of the slasher genre with it’s audience and is really smart about it. It gives us an affectionate send-up of how Michael, Freddy or Jason might have prepared for one of their bloodbaths and then gives us one such bloodbath in itself…although the actually bloodletting was a bit tamer than I would have expected. The way it goes from mockumentary to actual slasher is ingenious and clever and most of all, works perfectly and thus, so does the film as a whole. Add an engaging cast and this is a really good time and when all is said and done, a pretty good horror movie too…though one with a very twisted smile.

-MonsterZero NJ

3 and 1/2 wannabe horror icons!

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MONSTERZERO NJ’S SATURDAY NIGHT DOUBLE FEATURE: ROB ZOMBIE’S HALLOWEEN and HALLOWEEN II

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With the Holidays here what better way to show some cheer then by featuring a couple of Rob Zombie movies…and holiday themed Rob Zombie movies at that…OK, the holiday is Halloween, but since it’s Halloween all year round at MonsterZero NJ’s, these flicks are appropriate…in my twisted little mind anyway! I know Zombie’s Halloween features have caused a lot of controversy and evoked some strong feelings both pro and con, but that’s far better in my mind than indifference. So, what did I think of them? Read on…
Both reviews are of the director’s cuts…

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ROB ZOMBIE’S HALLOWEEN (2007)

(Click on the highlighted links to go to corresponding previous features here at MonsterZero NJ’s Movie Madhouse!)

There are things I like about Rob Zombie’s remake and things I don’t. As far as the things I didn’t like, Zombie’s biggest mistake is de-mystifying Michael Myers. Carpenter’s original had an average little boy from an average family, savagely murdering his older sister for no apparent reason on Halloween night. Zombie makes him the product of a broken white trash home with a stripper mother (Sheri Moon Zombie) who has a taste for loser boyfriends (William Forsythe). Giving Myers a reason for his violent behavior takes away the mystique the character had. Zombie’s Myers is a damaged young boy (Daeg Faerch) who tortures small animals and graduates to killing people and is sent to an asylum where he silently grows into a homicidal man (Tyler Mane). Carpenter’s Myers was pure evil, the young boy stopped existing and grew into a vessel for an unexplained evil force and it was random and thus spookier. The original Myers became a supernatural being, where Zombie’s Myers is all too human. Another mistake is spending almost an hour examining Myers youth and incarceration at the mental hospital before he is set loose to return home to find his little sister, now a teenager with the adopted name of Laurie Strode (Scout Taylor-Compton). Carpenter got things rolling within a few minutes in the original and his flick focuses on the stalking of Laurie and gets the scares started early. And Laurie Strode is a random victim in Carpenter’s flick, the convention that she was related to Michael wasn’t added till the original’s sequel Halloween II. Finally, the casting of genre legend Malcolm McDowell, as Dr. Loomis, doesn’t work for me. I love McDowell, but his portrayal is a bit off. He didn’t quite seem to fit the role. He also botches a couple of the classic lines and these lines are important to the mythos. Patrick Stewart would have made a far better Loomis, not that he would have done such a film.

On the plus side, Zombie does have a nice visual style and things do get intense once he finally let’s Myers loose on the peaceful town of Haddonfield. Zombie’s Myers has a savageness that the original Myers lost after being dragged through numerous sequels, and the havoc he raises is some of the best action the character has seen since the original. Tyler Mane does make an imposing Myers and his Myers is filled with rage whereas Carpenter’s Myers was more methodical. Aside from my feelings on the casting of McDowell, the rest of the cast are fine. Sheri Moon Zombie shows some nice depth as a mother helplessly watching her son become a monster. She generates some real pain in her eyes and it makes her very sympathetic. Scout-Compton is a spunky and cute heroine and plays Laurie as a typical modern teenager,  but also gives her part the needed intensity when HE comes home and she’s forced to save her babysitting charges and fight for her life. Zombie also peppers the film with familiar faces. We get Halloween sequel veteran Danielle Harris (Halloween 4 & 5) returning to the series now fully grown to play Annie Brackett and she plays a typical feisty teen girl with boys on the brain and genre vet Brad Dourif is cast as her father, Sheriff Brackett who is conflicted as to whether to believe Loomis’ warnings or not. We get cameos by the likes of Dee Wallace as Laurie’s mother, Ken Foree as Joe Grizzly, a trucker who unfortunately provides Myers with his trademark coveralls, Sid Haig as a cemetary caretaker, Danny Trejo as a hospital orderly who takes pity on Michael and Richard Lynch as Michael’s school principal. There is also a nice re-imagining of Carpenter’s score by Tyler Bates which adds some spooky atmosphere especially in the second half when Myers is finally unleashed and Phil Parmet’s cinematography captures Zombie’s visuals very well.

The scenes in Haddonfield are really what worked for me as they should have. Zombie shows he can produce some suspense and scares and he cranks it up here. Too bad he chose to focus a good deal of the running time on Michael’s youth and incarceration which is less interesting as we know where it all leads, as this is a remake after all. As for the climax, without giving away any details, Zombie chooses to end his remake with a blunt shock ending where John Carpenter crafted an opening ending that left us with a feeling of dread even after the film was long over. It’s not a bad ending and does have resonance, but doesn’t have the bone chilling effect of the original.

I stand by my opinion that Zombie has a great horror film in him but, he needs to concentrate on using his distinct visuals more often and moving past his fascination with the 70’s grind house style filmmaking and the white trash characters that inhabited a lot of those films. There is nothing wrong with paying homage to your influences, but Zombie has covered that ground in his first three films now and I think he is capable of his own style.

The lowdown: better than pretty much all of the sequels after Halloween III (which, as you may know, I like a lot!), but a far cry from John Carpenter’s original masterpiece. I at least give Zombie the credit for trying to do his own thing instead of a stale shot for shot remake.

3 Zombie Myers!

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ROB ZOMBIE’S HALLOWEEN II (2009)

WARNING: If you haven’t seen Zombie’s Halloween remake, there are some points of discussion in the sequel review which may contain spoilers for the first film…
This is the film of the two Zombie Halloweens that get’s the most flak, but to be all honest, I’ve come to like this one because it’s more of a Rob Zombie film featuring Carpenter’s characters. He’s free from the confines of a remake and doing his own thing. The results can be mixed, but it is still better than any of the post Halloween III sequels. This film takes place immediately after the last with Laurie Strode (Scout Taylor-Compton) and Annie Brackett (Danielle Harris) in the hospital being frantically worked on and Myers being hauled off to the morgue. But when an accident wrecks the morgue transport, the resilient Michael Myers rises from his slab and walks off after murdering the surviving van occupant. He disappears and the story picks up two years later with a traumatized Laurie living with Annie and her father (Brad Dourif) while Laurie is trying to deal with the approach of Halloween and the fact that Myers’ body was never found. Of course it’s no secret to the audience that Michael is on his way back to Haddonfield to finish what he started and leaving a trail of bodies in his wake.

The fact that this sequel never really feels like a “Halloween” film works both for and against it. It’s more of a Rob Zombie film and here he is not afraid to take Myers’ mask off or get inside his head for some beautifully visualized hallucination sequences of Michael’s dead mother (Sheri Moon Zombie). Tyler Bates also forgoes the traditional Halloween music for the most part and his score is quite good despite not imbuing the Halloween sound and flavor like all the other movies. Zombie gives his sequel a more methodical pace and while the film never really gets scary, there are some real brutal and intense moments such as Myers’ reuniting with Annie. There are some savagely violent scenes here that are very effective, but by the end of the film, you do feel a bit bludgeoned with all the brutality. McDowell returns as Loomis who is now a pompous bestselling author writing books about Myers and profiting from the horrible experience that left many dead. I didn’t like Dr. Loomis being portrayed as an egotistical asshole. Just didn’t work. The character was always representative of the good fighting the evil and now he is a douche who is willing to sell everyone out to make a buck and himself famous. It also makes his last minute change of heart near the climax hard to swallow. Ironically since McDowell is freed of the confines of the tradition portrayal of the Loomis character, I accepted him better in this incarnation of the role despite not liking the direction the character is taken.

There is a lot of other things to like here, too, though, unless you are a Halloween traditionalist and just can’t forgive Zombie for taking his own direction with things. There are some really twisted and bizarre dream sequences that have beautiful and surreal visuals that really impressed me and cinematographer Brandon Trost captures them well as with the look of the rest of the film. Much like the final act of Zombie’s House of 1000 Corpses, it is when Zombie takes his camera into these surreal sequences that his films really come to life and sadly he doesn’t do it often enough, thought I really liked what he did here and how these sequences got into both Myers’ and Laurie’s heads. I liked the sequences of Myers hallucinating that he sees his dead mother and his younger self (Chase Wright Vanek here as Faerch had outgrown the part), egging him on to kill. And the same for Laurie Strode’s nightmares. Great stuff. And I really liked the WTF ending. He really went outside the comfort zone of this series and in terms of traditional Halloween lore and it was daring. The Kubrick-esque final shot gives the appropriate chills the remake’s end lacked.

He gets some really good performances out of his cast again. Compton is good, but I do prefer her as the sweeter Laurie then the foul mouth tattooed traumatized girl here…though the progression is understandable and she does come across as a very messed up teen, mixing psychological damage with teen angst. Danielle Harris shows that she has grown into a really good actress as Annie, who was far more seriously hurt by Michael and yet is handling it a lot better then Laurie. She’s both friend and mother to Strode while soldiering on with her own life. A strong young woman and it makes her confrontation with Myers all the more powerful. And last, but not least, genre favorite Brad Dourif gives what might be the performance of his long career. Yes, he is that good and thankfully Zombie gives him a lot of good material and scenes to show it in. I loved him in this. Again, we also get some cameos by genre vets and Zombie favorites like Margot Kidder as Laurie’s psychiatrist, Howard Hessman as Laurie’s record store/cafe owner boss and Daniel Roebuck as a delightfully sleazy strip club owner.

While it’s not a great movie, I do like it for what it is and the risks Zombie took here with characters that are quite endeared to horror fans. Ironically, Zombie has been criticized and chastised for taking these risks, while equally so for not taking enough risks in the previous film. Sometimes you just can’t please fans when it comes to poking around an established classic. I hope someday Rob Zombie makes an original film that finally lives up to the potential he constantly shows. This film showed a progression from Halloween and I think we are seeing him move away from grind house and more toward Zombie. While many horror fans would disagree, I like this flick and recommend it as long as you have an open mind as to how classic characters are utilized and aren’t offended because someone took an established franchise and thought outside the box with it.

3 Zombie Myers!

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For a look at Zombie’s House Of 1000 Corpses and The Devils’ Rejects click here!

And for a look at his The Lords Of Salem click here!

For a profile of Screen Queen extraordinaire Danielle Harris click here!

For our look at the original Halloween click here and it’s first two sequels here!

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MONSTERZERO NJ’S SATURDAY NIGHT DOUBLE FEATURE: HALLOWEEN II and HALLOWEEN III: SEASON OF THE WITCH

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The Halloween season may be over, but I couldn’t let it pass without giving this fun double feature a mention…

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HALLOWEEN II (1981)

With John Carpenter’s Halloween a big hit, it was inevitable that there would be a sequel. And while he had no intention of directing it, Carpenter along with Debra Hill wrote Halloween II which takes place on the same night of the original, basically picking up right where the first film leaves off. The flick continues the story with an injured Laurie Strode (Jaime Lee Curtis) being taken to a hospital in Haddonfield while Dr. Loomis (Donald Pleasence) and the police scour the neighborhood for the still at large Michael Myers (stuntman Dick Warlock). But unbeknownst to them, Michael has discovered Laurie’s whereabouts and heads to the hospital to find her, leaving a trail of bodies along the way and once there he begins to decimate the hospital staff in search of his prey. It is in this film we find Laurie is actually Michael’s other sister and he has come home to finish the job he started 15 years ago.

While Halloween II is far from the masterpiece that Halloween is, it is a classic in it’s own right and in retrospect is definitely among one of the better slasher flicks of the 80s. Carpenter chose unknown Rick Rosenthal to direct and it’s hard to tell just how much of the film’s effectiveness is his, as it is said that producer Carpenter was unhappy with the film and did some re-editing and reshooting himself upping the gore and nudity quotas…which, in turn, made Rosenthal unhappy with the film. Photographed by Dean Cundey, the look of the film certainly matches the first and with Carpenter again handling the music, the atmosphere is there. The two flicks fit together quite nicely, but it’s hard to tell just how well Rosenthal did as director when Carpenter basically took over post production and added new material and rearranged sequences. The result is a solid slasher with some decent kills and gore and some nice suspense sequences as Myers stalks Laurie and the hospital staff in the dark hallways of the nearly abandoned hospital night shift. It has it’s intense moments and it certainly is a bit more brutal than the first with a much larger body count. Though, obviously it doesn’t have the first film’s finesse.

The cast all perform well with Curtis once again strong as Laurie and Donald Pleasence seamlessly reprising his role as Loomis. Dick Warlock gives Michael a powerful presence and newcomers Jeff East, Leo Rossi, Ana Alicia and Pamela Susan Shoop are all suitable as hospital staff and potential victims.

Who actually deserves more credit for making this sequel a solid slasher and a decent follow-up to Carpenter’s classic is not clear, but what is clear is that despite the large shoes it had to fill, Halloween II is an entertaining and effective slasher sequel that over time has come to stand on it’s own and has earned it’s own reputation as a classic.

3 and 1/2 skull pumpkins!

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HALLOWEEN III: SEASON OF THE WITCH (1982) 

Basically having concluded…or so he thought…Michael Myers’ story in Halloween II, producer John Carpenter intended to turn the Halloween series into an anthology, with each year a new Halloween themed film being released under the Halloween banner, but each one a separate and unrelated story.

The first of this proposed series is a bizarre, twisted and in my opinion, very underrated little horror thriller that mixes the supernatural with a bit of hi-tech (for the time). The film opens with an atmospheric and spooky sequence of a lone frantic man (Al Berry) clutching a Halloween mask while being pursued by ominous suited figures and finding his way to a gas station where he proclaims that someone is going to ‘kill us’ before collapsing. He’s brought to a hospital and put under the care of alcoholic Dr. Dan Challis (Tom Atkins), but later that night one of the suited figures arrives and gruesomely murders the man and then sets fire to himself. Challis soon learns the man was Harry Grimbridge, a local shop owner who was recently reported missing by his daughter Ellie (a smoking hot Stacy Nelkin). Now Ellie and Dan team up to find out what happened to Harry and why someone would want him dead. The only clues being the Silver Shamrock mask he was holding and that picking up a shipment of those masks from the factory in the remote little town of Santa Mira, was the last thing he was known to have been doing. But when the two get to Santa Mira they find something very sinister is afoot and that factory owner Conal Cochran (Dan O’Herlihy) may have a horrible plan in store for the innocents wearing his masks on Halloween using modern technology to resurrect an ancient evil.

A lot of fans of the Halloween series were very disappointed with this entry for abandoning Michael Myers and his storyline, but I really liked the idea of an anthology series and I have a lot of fun with this gruesome little horror thriller with a twisted sense of humor. Carpenter pal Tommy Lee Wallace directs…and wrote the script from a story by Nigel Kneale…and he does a good job of replicating the master’s style and having Dean Cundey doing the cinematography and Carpenter and Alan Howarth on musical chores, the film fits right in with the Halloween series despite sharing none of the story elements. There are also some nice gore effects and other make-up to portray the various effects of Cochran’s Druid black magic and the after-effects of his suited thugs’ handiwork. The film has some nice atmosphere from the score…one of Carpenter’s best, actually…and the fact that Wallace has learned a lot about setting up shots from his director friend.

We get a flawed hero in the alcoholic divorcee Challis, who is brought to life with a really good performance by Tom Atkins. Dan is a very down to earth and real guy who comes up against a horrifying plan to murder thousands of children and faces the challenge with nobility and guts. Nelkin is a pretty and spunky heroine as Ellie and while it may be a stretch that she would fall so quickly for a borderline wreck like Challis, they do work well together as both characters and actors. And it would be remiss to not give Dan O’Herlihy a nod for a strong and creepy villain who has the charm of an angel, but the soul of a devil. The movie has it’s share of flaws. It can be silly at times, though sometimes it works in it’s favor, such as a last act that turns into a sort of supernaturally themed James Bond movie complete with a hidden lair, evil world effecting plot and arrogant boastful villain. And some characters are obviously just there for exposition and to be victims. But I think overall, you can forgive some of it’s flaws because it is such a well intentioned and fun horror thriller that has it’s heart in the right place and, in retrospect, is actually one of the more original horrors to come out of the franchise heavy 80s despite it’s farfetched story.

A very underrated horror thriller and a spooky, fun and twisted Halloween flick that gets watched every year during the spooky season at MonsterZero NJ’s lair. A favorite that I find is finally getting the respect it deserves. Listen for vocal cameo’s by none other then Jaime Lee Curtis during the scenes in Santa Mira.

Michael Myers returned to the series in Halloween 4 a few years later and the anthology series idea faded with Halloween III‘s weak box office returns. Too bad, I would have liked to have seen what Carpenter and co. would have come up with for future installments.

3 sinister Silver Shamrock masks!

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HALLOWEEN FAVORITES: HALLOWEEN (1978)

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HALLOWEEN (1978)

What better way to wrap up our month long look at some of my Halloween Favorites then by taking a look back at one of the all time great horror flicks and a bonafide classic that is appropriately named after my favorite holiday. John Carpenter’s Halloween is recognized as a masterpiece of suspense and terror and while it wasn’t the first film that fits the definition of slasher, it did start a horror trend that gave birth to quite a few other classics during the following decade and beyond. It’s also simply one of the quintessential horror flicks to watch on All Hallows Eve!

The story starts out in sleepy Haddonfield, Illinois where 6 year old Michael Myers (Will Sandin), for no apparent reason, takes a butcher knife to his teenage sister Judith (Sandy Johnson) and brutally slaughters her. Fifteen years later on the eve of Halloween, Michael (Nick Castle in costume, Tony Moran when briefly unmasked), who has been incarcerated in the Smith’s Grove Sanitarium, awakens from his trance-like state and escapes the facility with his psychiatrist Dr. Samuel Loomis (the great Donald Pleasence) in pursuit. While no one believes him, Loomis is certain he knows where the escaped Myers is going…home. And Haddonfield is exactly where the soulless killer is heading and soon teen babysitter Laurie Strode (Jaime Lee Curtis) and her friends are going to be trick or treated to the most horrifying night of their lives as evil returns to their little town and leaves a trail of bodies in his wake. Despite Loomis’ warnings, can Myers be stopped on the night HE came home?

John Carpenter takes this simple concept…from a script he co-wrote with Debra Hill based on a story idea presented by producers Irwin Yablans and Moustapha Akkad…of a killer stalking a small town and turns it into a masterpiece of suspense and terror as he establishes not only that our killer has, overtime, become a soulless vessel of evil, but gives him a likable batch of typical teens such as Laurie and her friends Annie (Nancy Kyes) and Lynda (P.J. Soles) for us to fear and cheer for, as this fiend targets them for the slaughter. He then uses his camera lens and the cinematography of Dean Cundey to create tension setting shots of Laurie and her friends innocently going about their lives while Michael, or the car he stole, lurks in the background letting us know evil has found them while they remain blissfully oblivious. When Myers begins his carnage that night, we get shots that are filled with shadows from within which evil may lurk and more shots of Michael and his haunting white mask peering in windows or from behind trees watching his unaware prey. And once the audience is drawn in, we get to watch Michael start to eliminate this likable cast in brutal fashion leading to an intense last act that is literally one long stalking chase as Laurie tries to fight back and escape the mysterious killer who has targeted her as his next victim. The legendary director cranks up the pace after a deliberately slow burn and really gets our hearts pumping as the film heads toward it’s haunting conclusion. Carpenter stages all these scenes perfectly and we are with Laurie through one close call after another as the seemingly unstoppable boogeyman is relentless in his pursuit of the babysitter and her young charges (Brian Andrews and Kyle Richards). If his keen direction isn’t enough, Carpenter himself wrote and performed the haunting and now legendary score which really intensifies the atmosphere and accents every scare.

The cast are all good. Pleasence creates an iconic character as the frustrated and desperate Dr. Loomis, In her first film role, Jamie Lee Curtis gives us simply one of the greatest horror movie heroines of all time as Laurie. Nancy Kyes and cult favorite P.J. Soles are endearing as Laurie’s horny gal pals and Charles Cyphers is convincing as a small town sheriff who is more doubtful then concerned…until it’s too late. There is actually little gore in the film, but what bloodshed we do get is well executed, though it is sound FX that really make these kills effective as Michael’s knife makes impact with his unsuspecting victims. The sound is chilling as is his victim’s struggles when the killer simply uses his bare hands to finish them off. Which in my opinion is even more horrifying. Whatever flaws this film has, they are minor and it is a text book example of how to make a low budget horror, achieving a lot with very little.

Whether the film is an allegory on the dangers of teen promiscuity or simply a damn good horror flick, it all comes down to Carpenter’s camera and how he uses it that creates a lot of the tension and suspense. While today’s generation brought up on more blunt and visceral horror may find this too tame, I think it is truly the masterpiece of horror that it’s reputation suggests and quite possible changed horror films forever. A classic and one of the greatest Halloween season flicks of all time.

“Was it the Boogeyman?… As a matter of fact it was…”

A classic 4 carved pumpkins!

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HALLOWEEN HOTTIES: DANIELLE HARRIS

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During the month long celebration of Halloween I thought we’d also take a look at some of the lovely ladies of Horror. Some of them have made hearts race and others have made blood spill. Some have run for their lives and others have taken lives. Whether it be a final girl, or a villainess, the girls of Horror will always have our hearts…sometimes literally.
So, what better way to kick off this look at the Horror Hotties then with a beautiful and talented young lady who has carved herself quite a career in horror film history and cemented her legacy as one of the all time great scream queens…

DANIELLE HARRIS

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Danielle started her horror career with a bang at the age of 11 playing Jaime Lloyd, Michael Myers’ niece in 1988’s Halloween 4: The Return Of Michael Myers. She was then pursued again by her malevolent uncle the following year in Halloween 5: The Revenge Of Michael Myers. After that she continued to work steadily, but it wasn’t till Harris returned to the world of Michael Myers all grown up in 2007 in the Rob Zombie Halloween re-imaging as Annie Brackett, that she really took the Horror world by storm. After starring in Zombie’s Halloween 2, Harris continued to appear in a prolific assortment of Horror flicks including Jim Mickle’s awesome Stake Land and taking over the role of final girl, Marybeth Dunston in the second and third Hatchet films. Recently Harris had graduated to director by directing her first Horror flick Among Friends and is now filming See No Evil 2 along with fellow scream queen Katharine Isabelle and directors to watch The Soska Sisters. Harris seems to genuinely love the Horror genre and making horror films and is renown for being very gracious, sweet and appreciative when meeting fans at conventions. A classy, talented and beautiful lady who can can warm our hearts and chill our blood at will.

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A young Harris as Jaime Lloyd, Michael Myers niece in Halloween 4 & 5

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…all grown up with co-stars in Rob Zombie’s Halloween

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…as final girl Marybeth Dunston in Hatchet III

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…and looking hot showing off her gorgeous tattoo in Inked Magazine!

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And don’t forget to check out our Halloween Hotties focusing on Melanie PapaliaKatharine IsabelleAmber HeardAlexandra Daddario, Katie FeatherstonKatrina Bowden and Briana Evigan! (just click on their names to go to their pages!

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