After being committed for 17 years, Michael Myers, now a grown man and still very dangerous, escapes from the mental institution (where he was committed as a 10 year old) and he immediately returns to Haddonfield, where he wants to find his baby sister, Laurie. Anyone who crosses his path is in mortal danger.
It's one year later after the events of Halloween 4. Michael survives the shootings and on October 31st he returns with a vengeance. Lurking and stalking, Jamie, Rachel, and Rachel's ... See full summary »
Serial Killer Michael Myers is not finished with Laurie Strode, and their rivalry finally comes to an end. But is this the last we see of Myers? Freddie Harris and Nora Winston are reality ... See full summary »
Six years ago, Michael Myers terrorized the town of Haddonfield, Illinois. He and his niece, Jamie Lloyd, have disappeared. Jamie was kidnapped by a bunch of evil druids who protect Michael... See full summary »
The residents of Haddonfield don't know it yet... but death is coming to their small sleepy town. Sixteen years ago, a ten year old boy called Michael Myers brutally kills his step father, his elder sister and her boyfriend. Sixteen years later, he escapes from the mental institution and makes his way back to his hometown intent on a murderous rampage pursued by Dr Sam Loomis who is Michael's doctor and the only one who knows Michael's true evil. Elsewhere a shy teenager by the name of Laurie Strode is babysitting on the night Michael comes home... is it pure coincidence that she and her friends are being stalked by him? Written by
When talking about Michael, Ronnie says "He's probably gonna end up cutting his dick and balls off and changing his name to Michel." Daeg Faerch would later play a character named "Michel" in Hancock (2008). See more »
Just after the rape scene, Michael Myers is attacked in the back by a baton by one of the hospital workers - it leaves a very noticeable long baton-shaped dent in his back, making it very obvious that he's wearing a badly padded out bodysuit. See more »
How sad that a classic, seminal horror film could be this maligned in a remake. Zombie is living proof that just because someone is a "fan" of a certain type of film it doesn't mean that they should MAKE that type of film.
Zonbie proves with this film he is a one note director: vulgarity, nudity, violence and profanity are his subject matter, while likable characters, character development and any amount of suspense are jettisoned so he can move on to the next expletive, breast, or bloody body as quickly as possible. There isn't a character in the film who doesn't make sexual references or swear. Even Tommy, (the little boy who the Laurie Stode character babysits) mentions that Lyndsey, his schoolfriend, "smells like her". Who wants to sit through two hours of such sad repellent characters?
Carpenter's original, a simple, straight-ahead suspense film had little blood and intense suspense driven partly by the fact that the Boogeyman of the film WASN'T jumping out of the shadows every two seconds. In fact, part of what made the original so scary was the fact that Michael often did NOT appear at times when one was sure he would jump out. In this version, one could set one's watch by how often Michael comes creeping out of the darkness, usually in the exact same set up for every kill: victim in the foreground and Michael walking up in the background. Again and again. Repetitive and dull.
Zonbie could have made a depressing study of a troubled little boy and his psychiatrist and never called it "Halloween" and come out of this debacle with reputation more intact. But when the focus suddenly and awkwardly shifts to the Strode character and we see the events of the original condensed into about 30 minutes, its impossible not to judge the film by the impressive merits of the original. That's when one realizes Zombie has no true focus or thrust for a storyline and that his "reimagining" of a classic is an immense failure.
Don't look to this detestable film for even a modicum of suspense and maybe you won't be disappointed. The biggest "BOO!" in this film should come from the audience.
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