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.
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.
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 programmers at DangerTainment, and are planning to send a group of 6 thrill-seeking teenagers into the childhood home of Myers. Cameras are placed all over the house and no one can get out of the house... and then Michael arrives home!Written by
When Michael Myers is walking towards his sister's room at the mental ward, the camera shot is behind him, as he holds his knife by his side. The camera angle changes to his front, and now the blade is at his front. See more »
You've heard of the tunnel. The one we all go through sooner or later. At the end, there's a door. And waiting for you on the other side of that door is either Heaven or Hell. This that door.
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Katee Sackhoff's name is misspelled in the opening credits--the "k" is left out. See more »
Nora Winston's (Tyra Banks's) death scene involved Michael stringing her up with electrical wire and him viciously stabbing her in the abdomen as she struggled. The scene was later cut because as Brad Loree, the stuntman who played Michael, stated "Every horror movie has to have a character find the body of someone you didn't know was dead." See more »
What can I say? If I've seen a film worse than this, it certainly doesn't spring to mind right now. I managed to get to the first screening in the local area and, even though the audience was fairly small, I still counted eleven people who walked out at various points in the movie and never came back. Now either Michael Myers slashed them up on their way to the lavatories or, like me, they were bored stiff by this absolute CLUNKER of a flick.
The plot, or what little semblance there is of one, is simple yet completely ludicrous. An organisation called Dangertainment, headed by the entrepreneurial Freddie Harris (Busta Rhymes), gets together a group of six students (!) to spend the night in serial killer Michael Myers' childhood home, in the hope that they will "find clues" as to what drove Myers to kill and kill again. Quite why, 25 years on from the murders, they think they will achieve anything by sending a group of teenagers into a house that, in the real world, would probably have long been demolished, is beyond me. Surely it is the job of police psychologists to dissect the minds of serial killers anyway? The film conveniently forgets the previous five sequels (with the exception of "H20"; this gets an irrelevant reference in the gratuitous opening scenes which serve merely as an excuse to waste Jamie Lee Curtis' talents in some customary 'running around' antics) and throws us almost immediately into the environment of the house, where each of the six kids are given a little handy-cam to strap to their heads and told to go searching for clues... You with me so far? Well, that's pretty much all there is to it. Needless to say, Myers himself shows up at the house about 10 minutes into the movie (how? why?) and decides he wants to kill everybody one by one, in the style we've now become accustomed to.
This paper-thin tale is told so badly, it's almost hard to believe what you're seeing on screen and that anyone was dumb enough to spend time and money filming it. I suppose you could almost see it like a series of noisy soundbites strung together randomly. It keeps things simplistic to the point of being nonsensical, presumably to avoid confusing its target audience of dribbling inbreds. I think I could've written a better, more entertaining and reasonable script myself on the back of a beermat. Nothing is ever explained or justified, no matter how implausible and ridiculous things get, and yet, bogglingly, the film still seems to take itself fairly seriously. It tries desperately to shock with a series of boring but bloody knife murders (nothing we haven't seen ad nauseam in any of the previous films) and innumerable 'false' scares with flashlights and toys falling out of cupboards. It's all so by-the-books and done-to-death that you'd have to have never seen a single horror film in your life to find it even remotely tense or scary.
I think what bugs me the most about the film is just how terribly made it is. Even forgetting the GAPING plot holes, there are loads of obvious continuity errors and a sad, desperate style of direction that seems to drag every scene to the point of agony in a desperate attempt to pad out the already-short running time of the film. The cast do nothing to help things - all the characters are cardboard stereotypes and the ugly, plastic teens seem to be having a battle to see who can be the most skin-crawlingly irritating. I think it ends up as a tie between Katee Sachoff's hyperactive, squeaky airhead and Bianca Kajlich's jitterbug 'heroine', who spends the entire movie simpering and screaming loudly every time someone drops a pin. Oh, for the record, Busta Rhymes is absolutely ATROCIOUS in this. His entire purpose in this movie seems to be to deliver the worst examples of wisecrack-by-numbers dialogue I've ever heard (ie: "Trick or treat, motherf**ker?") and he plays his role as a cross between Eddie Murphy and Vin Diesel, but without the charm or charisma of either.
I'd like to say John Carpenter would be ASHAMED to see such a horrible mess made out of his characters, but when you consider the maestro himself is making films almost as bad as this these days, he probably couldn't give a toss so long as the money keeps rolling in. I think this fact in itself proves just how much horror movies have changed since the first "Halloween" was made and, to its credit, "Halloween Resurrection" would be a perfect example of an "of its time" product you could stick in an 'early 21st century' time capsule for future generations to balk at. It is every bit as throwaway and pointless as the culture that spawned it. It is loud, crass and in-your-face constantly, despite having absolutely nothing to say when it gets there - it's like the movie equivalent of an annoying little brat screaming at you, desperate for attention. "Look at me! Look at me! I'm being noisy and irritating!"... I would highly advise, for your sanity's sake, that you don't look since, like that annoying child, you'll only encourage it and I, for one, don't think I could cope with another sequel this bad... This film is utter garbage and I fail to think of a single way in which they could've made it any worse. A resounding 0 out of 10.
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