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.
One year after the events of Halloween 4: The Return of Michael Myers (1988), the Shape returns to Haddonfield once again in an attempt to kill his now-mute niece.
Director:
Dominique Othenin-Girard
Stars:
Donald Pleasence,
Danielle Harris,
Ellie Cornell
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.
Director:
Joe Chappelle
Stars:
Donald Pleasence,
Paul Rudd,
Marianne Hagan
Laurie Strode, now the dean of a Northern California private school with an assumed name, must battle the Shape one last time, as the life of her own son hangs in the balance.
Director:
Steve Miner
Stars:
Jamie Lee Curtis,
Josh Hartnett,
Adam Arkin
Ten years after his original massacre, the invalid Michael Myers awakens on Halloween Eve and returns to Haddonfield to kill his seven-year-old niece. Can Dr. Loomis stop him?
Director:
Dwight H. Little
Stars:
Donald Pleasence,
Ellie Cornell,
Danielle Harris
Laurie Strode struggles to come to terms with her brother Michael's deadly return to Haddonfield, Illinois; meanwhile, Michael prepares for another reunion with his sister.
After being committed for 17 years, Michael Myers, now a grown man and still very dangerous, escapes from the mental institution and immediately returns to Haddonfield to find his baby sister, Laurie.
Director:
Rob Zombie
Stars:
Scout Taylor-Compton,
Malcolm McDowell,
Tyler Mane
Fifteen years after murdering his sister on Halloween night 1963, Michael Myers escapes from a mental hospital and returns to the small town of Haddonfield, Illinois to kill again.
Director:
John Carpenter
Stars:
Donald Pleasence,
Jamie Lee Curtis,
Tony Moran
Years after Tommy Jarvis chained him underwater at Camp Crystal Lake, the dormant Jason Voorhees is accidentally released from his prison by a telekinetic teenager. Now, only she can stop him.
Having revived from his wounds, Jason Voorhees takes refuge at a cabin near Crystal Lake. As a group of co-eds arrive for their vacation, Jason continues his killing spree.
Director:
Steve Miner
Stars:
Dana Kimmell,
Tracie Savage,
Richard Brooker
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
simon
The Halloween: Resurrection trailer was first seen before Jason X (2001), which was released on the 26th of April 2002. See more »
Goofs
When Bill talks to himself in the mirror Michael bursts through the wall and grabs him but after you see the quick scene with Freddy and Nora having their glasses of wine Michael is completely out of the wall when he stabs him. See more »
Quotes
[first lines]
Laurie Strode:
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 is that door.
See more »
Crazy Credits
Katee Sackhoff's name is misspelled in the opening credits--the "k" is left out. See more »
Alternate Versions
Jen is online and enters herself, Sara, and Rudy in the contest to spend the night in the childhood home of Michael Myers, only to be attacked by Michael. Following this scene Sara is seen getting out of the shower. She hears a noise and goes out of the bathroom but sees nothing. She returns to the bathroom and brushes her hair, only for Michael to set up in the bathtub. It turns out to be Rudy, dressed as Michael, who was playing a prank on Sara and Jen. This scene was cut because the producers felt it was "too goofy". Jen's encounter with Michael before she is killed was originaly longer. After finding Bill's body she runs into a room and backs against the wall--only for Michael to come crashing through the wall. She then runs through the house until she meets up with the other survivors as in the final cut. See more »
Opening Night
Written by Haim Tzinovich (as Haim Zinowitch) & Tomer Biran (as Tommer Brian)
Performed by Zino & Tommy
Courtesy of Lovecat Music
By Arrangement with Ocean Park Music Group See more »
If there is one thing that can be counted upon in Hollywood, it is the sequel. As long as the film either makes a profit, however small, or is enough of a tax write-off to keep the producers afloat, the sequels will keep on a-coming. In some cases, such as X-Men 2 or Aliens, this is a good thing. However, they are a small minority that prove the rule, regardless of their excellence in themselves.
Horror franchises are the worst offenders in this regard. It's not so surprising when you consider that horror is a difficult genre to make work, and that no writer wants to be associated with a horror film that fell flat (what's the writer of Halloween III up to lately?). There are, of course, only so many different ways one can kill people before it becomes blasé, so to speak. But, as recent films like Ringu or its American equivalent have shown, Hollywood can get significantly more original with its horror than it has tried for most of the last twenty years.
The original Halloween, much like the original A Nightmare On Elm Street or the original Texas Chainsaw Massacre, was a novel concept that brought something new to the genre. In the case of Halloween, that something new was a silent killer who at times seemed more sane than his doctor. Of course, it also helped blow the number of murders committed by the mentally ill way out of proportion in the mind of the public, but it also exploits the fact that the extremely mentally ill are much more creative (Ed Gein, for example).
The Halloween "franchise" should never have made it past the second episode. Where the first episode spent time creating an atmosphere and set up characters one cared about, the second episode could be summed up with "hey, bimbo, try power-walking, he'll never catch you that way". The worst part is that every episode since could be summed up in exactly the same manner. The fifth film made an abortive attempt to restore this tension, but failed.
Fast forward to film number eight, and the best idea that the writers can come up with is sticking a mob of dopey twenty-somethings into the Myers house as part of a reality TV show. Not only is this a creative vacuum, it also opens up a million plot holes. For one thing, if the street that the Myers house is located on is still part of a residental zone, one has to wonder why the house hasn't simply been torn down and either had another house built on it, or been replaced by a small park. Another big plot problem is the stupidity of the cast. A murderer taking so long to dispose of a body, dragging a video camera all the while, is just begging to be caught.
There's also a big problem with cinematography. One would have thought that if the idea of resolutions lower than 35mm film in theatres hadn't been firmly killed by cinematic turds like Blair Christian Project, it certainly has been buried by the likes of Baise-Moi or Attack Of The Clones. A signifcant portion of the film is seen through the eyes of web cameras, however, and the abrupt transitions between the formats do not make for a pleasant viewing experience.
This is to say nothing of the fact that in spite of trying to make the film more "now" (did I mention the poorly-research pop-psychology subtexts?), the plot essentially boils down to "Michael Myers shows up in Haddonfield, kills a bunch of random strangers, someone 'kills' him, the end". Not exactly what I would call even slightly creative. Compare this with Ringu's ending, and it is easy to see why American horror films are so derided, even in their country of origin.
I am not surprised in the slightest that the rating for this film is 4.4 out of ten. As I sit and watch it now, I don't think of how creative or interesting the story is, as I did with parts one and three. I think to myself something along the lines of "Can't the Akkads do something creative for a change?". I think that, in essence, summarises every frame of the film.
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If there is one thing that can be counted upon in Hollywood, it is the sequel. As long as the film either makes a profit, however small, or is enough of a tax write-off to keep the producers afloat, the sequels will keep on a-coming. In some cases, such as X-Men 2 or Aliens, this is a good thing. However, they are a small minority that prove the rule, regardless of their excellence in themselves.
Horror franchises are the worst offenders in this regard. It's not so surprising when you consider that horror is a difficult genre to make work, and that no writer wants to be associated with a horror film that fell flat (what's the writer of Halloween III up to lately?). There are, of course, only so many different ways one can kill people before it becomes blasé, so to speak. But, as recent films like Ringu or its American equivalent have shown, Hollywood can get significantly more original with its horror than it has tried for most of the last twenty years.
The original Halloween, much like the original A Nightmare On Elm Street or the original Texas Chainsaw Massacre, was a novel concept that brought something new to the genre. In the case of Halloween, that something new was a silent killer who at times seemed more sane than his doctor. Of course, it also helped blow the number of murders committed by the mentally ill way out of proportion in the mind of the public, but it also exploits the fact that the extremely mentally ill are much more creative (Ed Gein, for example).
The Halloween "franchise" should never have made it past the second episode. Where the first episode spent time creating an atmosphere and set up characters one cared about, the second episode could be summed up with "hey, bimbo, try power-walking, he'll never catch you that way". The worst part is that every episode since could be summed up in exactly the same manner. The fifth film made an abortive attempt to restore this tension, but failed.
Fast forward to film number eight, and the best idea that the writers can come up with is sticking a mob of dopey twenty-somethings into the Myers house as part of a reality TV show. Not only is this a creative vacuum, it also opens up a million plot holes. For one thing, if the street that the Myers house is located on is still part of a residental zone, one has to wonder why the house hasn't simply been torn down and either had another house built on it, or been replaced by a small park. Another big plot problem is the stupidity of the cast. A murderer taking so long to dispose of a body, dragging a video camera all the while, is just begging to be caught.
There's also a big problem with cinematography. One would have thought that if the idea of resolutions lower than 35mm film in theatres hadn't been firmly killed by cinematic turds like Blair Christian Project, it certainly has been buried by the likes of Baise-Moi or Attack Of The Clones. A signifcant portion of the film is seen through the eyes of web cameras, however, and the abrupt transitions between the formats do not make for a pleasant viewing experience.
This is to say nothing of the fact that in spite of trying to make the film more "now" (did I mention the poorly-research pop-psychology subtexts?), the plot essentially boils down to "Michael Myers shows up in Haddonfield, kills a bunch of random strangers, someone 'kills' him, the end". Not exactly what I would call even slightly creative. Compare this with Ringu's ending, and it is easy to see why American horror films are so derided, even in their country of origin.
I am not surprised in the slightest that the rating for this film is 4.4 out of ten. As I sit and watch it now, I don't think of how creative or interesting the story is, as I did with parts one and three. I think to myself something along the lines of "Can't the Akkads do something creative for a change?". I think that, in essence, summarises every frame of the film.