Halloween

David Gordon Greene is an interesting director. He started out with micro-budgeted independent films like Undertow and George Washington before falling in with Danny McBride (and James Franco) for Pineapple Express. He made small to medium budgeted studio stoner comedies for a few years while occasionally making tiny movies here and there like Joe. He had a hand in Eastbound and Down and directed the second season of Vice-Principals where he apparently fell in love with Charleston, South Carolina as a filming location, for when he was given the reins to the Halloween franchise, he decided to recreate California acting like Illinois with Charleston. His history does not lend itself to the idea that horror would be his bag.

The first half hour of his Halloween is pretty much a straight drama with some brooding elements here and there. Laurie Strode's experience fighting Michael Myers in 1978 scarred her deeply to the point that she is a broken woman living on the outskirts of Haddonfield, Illinois on her bunker full of hiding spots, traps, and guns. Her daughter wants nothing to do with her, but Laurie's granddaughter feels that Laurie isn't getting the right level of appreciation from the family. There's a great scene where Laurie shows up to a family outing at a restaurant and just breaks down in front of everyone, including her granddaughter's boyfriend. It's uncomfortable and odd, but that's exactly what it's supposed to be. Not only has Laurie's experience broken her, but she's allowed it to completely dominate every aspect of her life. It's a sad sight.

Of course, the movie isn't a straight drama. It's a horror movie, and the horror comes from Michael Myers escaping from his prison and running loose again (any rumors of any other adventures between 2018 and 1978 are false). The introduction to Myers through a pair of investigative journalists, invited by Myers' doctor to try and elicit a reaction from the silent giant, is a wonderfully brooding piece of filmmaking. These three characters are consumed with the idea that there's something more to Michael Myers than simple evil, but Laurie warns them that they are wrong. It's a tad unclear (probably on purpose), but I think Myers' doctor organizes the killer's escape from the prison bus. He's expressed frustration in the idea that Myers has said nothing in forty years, and Myers is his life's work. He, essentially, knows as much about Myers after decades of study than when he began. He releases Michael so he can observe and study further, to understand Myers' beyond the silent killer.

But, of course, Laurie is right. Michael is just pure evil. And as the movie transitions from brooding drama about trauma into a horror movie, the film falters a bit. The middle section of the film is dancing around a few different tones that all clash together pretty harshly, undermining any real sense of impending danger. There is the central moment where Michael has a small rampage in Haddonfield's residential district, grabbing random weapons in one house and killing someone before simply moving on, that's right there, and it's great. However, it's surrounded by scenes that contain humor that, while oftentimes actually kind of funny, aren't placed in the greatest part of the movie and undermines the tension building. The last time this is a real problem is when we see two cops talking about Ban-Mi sandwiches. It simply doesn't work and stops a tension crescendo in its tracks.

After that moment, though, the movie goes full horror, and it's quite good. Perhaps some of the mechanics are a bit wonky to make it happen, but once there, the fight in and around Laurie's house is really effective tension and horror.

I read that Greene and McBride (one of the writers) were offered to film two Halloween movies back to back, but they turned it down because they wanted to figure out what they did right and wrong with the first movie before jumping into a second. Here's to hoping that if they do film a second film, that they work on getting a more effective and consistent tone.

When I go see a slasher film I want to see kills and gore a lot of gore. On top of that I would like to be engage completely. Halloween offer me that, From the moment that they visit Michàel in the mental health prison to when he goes on his killing spree in Halloween. The killings were creative. Michàel Myers was brutal and pure evil in this one. Some of my favorite scenes were the baby sit scene. The scene where You see Michàel waking around the house and later appears inside the house in the same shot without cut.

I tried watching the rob zombie Halloween and I thought it was boring, compare to this is engaging, creative and completely fun ride.

Grade B

The movie geeks who saw this early have been overpraising this to the skies. What i saw was an adequate revival with Jamie Lee doing her best with a totally unbelievable, over the top survivalist version of Laurie Strode, sequences taken whole cloth from the original and the myriad sequels, and strange moments of comedy that belonged in another movie and created weird tone issues. I might be alone in this but H20 was a far superior Laurie vs Michael rematch.

After Resurrection and the Rob Zombie films, it's an understatement to say that Halloween (2018) was a pleasant surprise. Laurie Strode was given the T2 Sarah Connor treatment and is now a formidable badass, having waited forty years for Michael Myers to escape prison so that she can kill him. This is the showdown we've been clamoring for.

If there's one thing Halloween (2018) gets right, it's the protagonist. Laurie Strode is treated with respect here, unlike in other sequels (I'm looking at you, Resurrection). She's been training for forty years, preparing, praying for Michael to break out of prison so she can kill him. Her daughter had to learn how to fight at a very young age, and eventually Laurie was deemed unfit to be a parent. Because of this, they have a strained relationship, and it's believable. There's even a satisfying payoff at the end. Horror filmmakers take note: a little character development goes a long way.

There's also Laurie's granddaughter, and this is where the flaws start to creep in. The teenagers and their drama was the weakest aspect of the movie. Sadly, most of the second act is devoted to these characters that we really don't know or care about. There's Laurie's granddaughter, her boyfriend, the comic relief guy, her ditzy friend, and her friend's boyfriend. That's the extent of their characters. Naturally, they're only there as fodder for Michael (except the boyfriend who mysteriously disappears from the movie), but the fact is that we're wasting time watching these characters interact when there's a much more compelling story on the sidelines.

Comedy is used fairly appropriately in the film, the little boy being the clear standout. But there are a handful of farcical bits that are either ill-timed or simply not funny, or a combination of both. This prevents the movie from developing an overall atmosphere. This isn't so much a problem in the third act, thankfully, but the finale would've been more effective if a bleak atmosphere had been established earlier in the film. A few more wide shots of the streets of Haddonfield in the fall weather; more shots of Michael standing in the background eerily out of focus; limiting the comic relief to one, maybe two characters max; any of these could've been helped.

That's not to say that the direction is poor. Far from it. This is the closest the franchise has felt like a Carpenter movie since the original. Gordon Green does a good job of keeping Michael in the shadows - even unmasked, it's difficult to make out his face. You really get the sense that he is, purely and simply, evil. Background action is also prevalent and well done (as in, there's not a music sting whenever Michael comes into frame). Again, a breath of fresh air after the Zombie films which had the subtlety of a sledgehammer.

This is an excellent sequel to Halloween and a thoroughly enjoyable, well crafted slasher movie on its own. It's wonderful to see the Boogeyman on the big screen again, and now he has finally met his match. Is it a perfect movie? Absolutely not. But Halloween (2018) is something to be celebrated if only for one thing: it proves that slashers can still be scary.

John Carpenter's 1978 'Halloween' is wholly deserving of its status as a horror classic, as a horror film it is one of the most iconic ones and very influential. To this day it is still one of the freakiest films personally seen and introduced the world to one of horror's most iconic villainous characters, and characters overall, in Michael Myers.

The numerous follow-ups are very hit and miss (leaning towards the miss), with none of them being anywhere near as good and the quality decline generally was pretty drastic. 'Halloween H20: 20 Years Later' was an exception, while the Rob Zombie films and 'Halloween: Resurrection' were abominations. Hearing that there was going to be another film, part of me was really excited as it did look very creepy and word of mouth was positive. There was a little nervousness though as well, due to not being impressed generally with most of the 'Halloween' follow ups. Watched it though as part of my seeing as many 2018 films as possible quest, which has been a worthwhile one mostly but also hit and miss.

Found myself breathing a big sigh of relief walking out of the cinema. While 'Halloween' (2018) is nowhere near as good as the 1978 classic, alongside 'Halloween H20: 20 Years Later' it is one of the best of the series since. There are flaws and it is not one of my favourites of the year, but there are a lot of strengths and there have been worse films this year. As far as 2018 horror films go, the year has been patchy for horror, it's one of the best ones on the most part.

Starting with 'Halloween's' (2018) problems, some of the humour is misplaced and out of kilter too much with the rest of the film and a few elements of the story could have been explored and gone further more.

The big twist also didn't seem fully realised although a brave one and the ending felt rushed and abrupt, also felt that there could have been more tension and less unintentionally silly camp. Have always been wary of open-ended endings and that they can be dangerous to do in case a planned sequel falls through.

However, there is an awful lot to like about 'Halloween' (2018). Along with 'Halloween H20: 20 Years Later' it is the best looking of the follow-ups, it is very eerily shot and is close in style to the autumnal look and visual iconography of the original, something that most of the follow-ups failed to do. Loved the haunting music score, here an asset rather than a drawback in how it adds a lot to the atmosphere and enhances it, coming close too in being a character of its own.

While flawed, the script is mostly smart with in-jokes and references that are effectively embedded and coming over as affectionate rather than random. There are humorous moments too. 'Halloween' (2018) succeeds in being fun and creepy, with the atmosphere being riddled with tension and suspense. The deaths are horrifyingly creative and the most shocking since 'Halloween H20', the gore not going overboard on the shock value or looking cheap, not distracting at all. The beginning is unsettlingly tense and Michael Myers has not been this freaky in a long time. Some moments have surprising heart and the scares made me jump and bite my nails. It was great for the film to return to the franchise's roots and treat the original with respect, while with enough new touches of its own. One of the better examples this year in attempts to cater to everybody.

Didn't find myself annoyed by the characters and there was personality to them to stop them from being bland. 'Halloween' (2018) is one of the best acted 'Halloween' films. Jamie Lee Curtis has still got it, none of what made her character great is lost or forgotten, and Nick Castle is supremely terrifying as Myers.

Concluding, didn't bowl me over but found myself enjoying it all the same. 7/10 Bethany Cox