DIR: David Gordon Green • WRI: David Gordon Green, Danny McBride, Jeff Fradley • DOP: Michael Simmonds • ED: Timothy Alverson • DES: Richard A. Wright • PRO: Malek Akkad, Laura Altmann, Bill Block, Jason Blum • MUS: Cody Carpenter, John Carpenter, Daniel A. Davies • CAST: Jamie Lee Curtis, Judy Greer, Andi Matichak
What has happened to our fresh-faced franchises that filled us with hope? Has Father Time turned us all into cynics? I don’t know to be quite frank, but I couldn’t think of any other way of segueing into my observation that David Gordon Green’s Halloween is only the second time that we have recently encountered an L. S. who has become embittered, misanthropic and estranged from their community in a remote hermitage (although this time it’s not off the west coast of Ireland) decades after the last time we saw them. Laurie Strode/Luke Skywalker – coincidence? Yeah, probably.
It’s forty years since the infamous Haddonfield murder spree in which Michael Myers murdered Laurie Strode’s friends and forced her to fight for her life. Jamie Lee Curtis and Nick Castle have returned to reprise their roles, with James Jude Courtney performing Myers’ stunts. Still under lock and key, Myers is soon to be transferred to a new, more secure, institution. He has refused to utter a word in four decades, much to the curiosity of Dr. Ranbir Sartain (Haluk Bilginer), successor to the now deceased Dr. Loomis, and the frustration of the investigative journalists (Rhian Rees and Jefferson Hall) that have come to interview him. Unable to gain any insight, the journalists turn instead to Laurie who is almost as tight-lipped about the events. Recognising the significance of the upcoming date and his transfer, Laurie attempts to impress the seriousness of the situation onto her family – her estranged daughter, Karen (Judy Greer), and granddaughter Alyson (Andi Matichak).
The new instalment is at its most interesting when examining the trauma that Laurie has battled with throughout her adult life. The echoes of the ongoing #MeToo movement can be seen as Curtis plays her elusive “final girl” as a battle-hardened survivor who has had to sacrifice relationships in order to maintain her grip on the world around her.
Returning to the franchise that spawned the slasher genre, it would perhaps be difficult to avoid meta commentary, and Green chooses to address the wider mythos of the franchise head on. Laurie and Myers’ siblingship, which was a revelation at the end of Halloween 2 and was felt to be a misstep by Carpenter himself – who has returned as creative adviser – has been retconned (something which the movie rushes to make clear). The film also seems to be rejecting the notion that Myers’ actions can ever be understood: lampooning the current obsession in popular culture for true crime, the two investigative journalists prove more interested in provoking Myers and Laurie than documenting them.
While there is lots to admire in the latest instalment, certain aspects also feel a little undercooked. Thanks to a lot of shifting in focus, the film takes a long time to find its feet. The central premise is compelling and makes for a suspense-filled romp, with the inevitable final showdown between Laurie and Michael both chilling and thrilling. Both the directorial team and the protagonist make great use of Laurie’s survivalist retreat, employing metallic shutters to slowly close down extraneous rooms, reducing the space between hero and villain as it draws towards the film’s inevitable conclusion. Yet one almost wishes that this compartmentalising could have started sooner, quite simply because other aspects of the movie feel somewhat tacked-on and insubstantial. Several set-pieces appear to be there as call-backs to the original film, and in particular Allyson’s high-school storyline could be removed wholesale while retaining the same plot. There’s certainly an argument to be had that Halloween is paying homage to what has come before it with these elements, but one also can’t help wondering if they couldn’t just be a bit more ambitious or creative while doing so.
Overall Halloween is certainly worth a watch for horror fans. In particular the excellent en media res suburban scenes of trick-or-treaters blithely skipping past Michael Myers as he goes murdering from house to house are a great call-back to the original movie and still highly evocative. There is plenty of tension and terror to be found: from the get-go, the opening credits are a stark reminder of just how spine-chilling Carpenter’s score is even four decades on, and Michael Myers unrelenting pace and cold-blooded killing still disturbs. So give yourself a treat this Halloween, and go see this bag of tricks.