Six years after Michael Myers last terrorized Haddonfield, he returns there in pursuit of his niece, Jamie Lloyd, who has escaped with her newborn child, for which Michael and a mysterious cult have sinister plans.
Three years after he last terrorized his sister, Michael Myers confronts her again, before traveling to Haddonfield to deal with the cast and crew of a reality show which is being broadcast from his old home.
20 Year's After Michael Myer's Massacre in Haddonfield. Laurie Strode faked her own death and traveled to California and took on the Identity Keri Tate. Michael finds out of Laurie's new Identity and travels to California to kill his Sister, Laurie must now take on her Brother with her Son's Life at Risk.Written by
Kevin Williamson was involved in various areas of production. Although not directly credited, he provided rewrites in character dialogue, which is seen heavily throughout the teen moments. Miramax/Dimension Films felt his involvement as a co-executive producer merited being credited. See more »
(at around 1h 8 mins) When Laurie, John and Molly are running away from Michael to the car, John is pushed into the back seat, when the door is closed, a very bright stage light is reflected into the window. See more »
Paging Inconsiderate: Party of One. Okay Charlie, no sex games till I've eaten.
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On October 26, 2003 an alternate version was shown on FX with these additions:
Marion looking around her house is extended.
Jimmy taking a look around Marion's house is extended.
Michael stalking Marion is extended.
Cops are shown bumbling around outside while Marion is chased by Michael.
Intro to Laurie is differently Paced.
a quick view of the town and school is shown before Laurine and John have breakfast.
a reference joke to Psycho made by Charlie is shown as he walks with John to school.
Michael is shown watching the Mother and little girl during the restroom scene.
Charlie and John are shown talking while they walk the California town outside the school and Michael follows them in his car.
Molly is shown walking through the school halls after getting the roses off the dish lift.
Laurie is shown watching the buses leave while on the telephone before the Psycho homage with Norma.
Laurie walking the school halls at night and walking the school grounds.
Adam Arkin chasing the Shape is slightly different.
John, Charlie and Molly are shown sneaking in through the kitchen window and get stuck while John sees Michael coming into the school.
Adam Arkin carves a pumpkin while he opens up to Laurie about his past; lead in for Laurie to open up to him about Michael.
Michael and Laurie stalking each other at the finale is extended.
Extended ending shows Michael's car following far behind Laurie but ends where Laurie chops off the guy's head.
Back before Lions Gate (now Lionsgate) held the monopoly on mainstream genre pics, Dimension Films was the go-to place for horror and suspense of the 'indie' sort. In 1998, with Wes Craven's 2 "Scream" films maintaining the public interest to great financial success, Dimension decided to put their acquisition of the "Halloween" franchise to good use (especially after the atrocious "Curse of Michael Myers") by making a sequel to end all sequels (at least until the atrocious "Halloween: Resurrection" turded up multiplexes).
In addition to being one of the most instantly-recognizable titles in all of horror, "Halloween: H20" came to screens with an added incentive: it marked the series return of original protagonist/victim Laurie Strode (played with cat-like veracity by Jamie Lee Curtis). Curtis' presence, in addition to the reliable skill of director Steve Miner (who cut his teeth on two "Friday the 13th" sequels), plus a story that wisely disregarded the incidents of all the sequels past "II," set "H20" up as the series payoff I was so eagerly awaiting. After leaving the theater, I was more than satisfied with the end result.
Years go by. Dimension becomes a notorious den of re-cuts, re-shoots, and re-castings (just ask Wes "Cursed" Craven) still trying to mine the 'Fresh-Faced-Teen' demographic that doesn't seem to exist anymore. Upon re-examination of "H20"'s box/poster art, I noticed a recurrent motif (from "Scream" to "Phantoms" to "Nightwatch" to "Rounders") in design: the proliferation of airbrushed faces looking Deeply Concerned about something, in addition to an over-reliance on bold, exclamatory blurbs from dubious sources (WWOR-TV, anyone?).
But I'm not reviewing the marketing tactics of a company whose former glories (namely Tarantino and Rodriguez) are now its only source of revenue.
"Sin City" notwithstanding, "H20" might have been the last good movie to come out of Dimension. At its core, it is a surprisingly compact (86 minutes, including credits) horror-thriller that moves so briskly we are never able to get too cozy with the characters. Miner goes for the subtle compositions that marked John Carpenter's original, and is fairly successful: the film refrains from the obligatory sex and self-referential attitude that would have been profitable at the time. From frame one, "H20" feels like a continuous, flowing set-piece...but the way it sidelines its characters leaves a hollow echo when it's all finished. Also unfortunate is that the suspense is so heavy-handed it seldom creates tension; this might be attributable to Chris Durand's overly self-conscious portrayal of the menacing Michael Myers. The relationship between Curtis, her son John (Josh Hartnett), and Myers is the film's intriguing familial triangle, but is disappointingly underdeveloped (though for the sake of the series, it wraps things up well enough).
In the end, "H20" is Curtis' show. She imbues her character with as much straight-faced commitment as she did in '78, in addition to a toughened exterior bent on preserving family values at any cost. The denouement, which contains a moment as touching as it is creepy, gives new meaning to the phrase, "tough love."
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