This October, I feel compelled to re-write my review of “Halloween,” the 2018 horror movie from the franchise directed by David Gordon-Green. I feel I was too harsh. No, a second viewing of the film does not erase all of my criticisms written the first time around. But the film does enough right (aside one sequence) that I feel its original grade to be unjust.
From watching the trailer to “Halloween Kills,” due out in just a few weeks, it’s clear Gordon-Green is attempting to make a trilogy of terror (yes, the sequel is not to end the franchise. That will likely come in the next sequel, “Halloween Ends”). His 2018 installment sets that up right, with a number of sequences—and, aside an insulting twist involving the film’s Dr. Sartain (Haluk Bilginer) which would have been better left out—the film works in being scary and bringing some uniqueness to the “Halloween” legend.
What “Halloween” does is erase all of the other films in the franchise save part 1, and to set up an epic grudge-match between an aging and traumatized Laurie Strode (Jamie Lee Curtis, reprising her role) and Myers (played by Nick Castle, also reprising his role, and James Jude Courtney). Along for the ride are Laurie’s daughter and granddaughter (Judy Greer, Andi Matichak) and Ray (Toby Huss). The addition of a great Will Patton as the town sheriff who helped arrest Myers the night of his original rampage adds to the picture’s eeriness. The film otherwise includes the usual gaggle of teenagers and townsfolk destined to be little more than cannon fodder in a film like this.
What the film gets right is the atmosphere. Some critics complain the film doesn’t really feel like a “Halloween” film, and I initially agreed. But a second viewing proves me wrong. Gordon-Green, who is stellar in setting up atmospheres in small towns (“Joe,” the excellent “All The Real Girls”) does a decent job here. This movie feels like Halloween. No, not to the degree that Carpenter’s original garnered; but enough is right with the cinematography (including pumpkins, decorated houses, and autumn in the air) as well as its updated score, that it is indeed scary.
For the first 35 minutes of the film, it is tight. It follows a pair of journalists (Jefferson Hall, Rhian Rees) who visit Michael in the sanitarium for a story. There’s one harrowing scene where Hall’s Aaron holds Michael’s mask out to him and the other patients begin to scream. There’s likewise additional fright when Michael’s bus flips over and he ‘escapes’ in both the atmosphere and the additional macabre the camera brings (spoiler: I’ve put ‘escapes’ in quotes, as anyone who’s seen the film will likely know he was abetted in a sequence that is honestly insulting. Had this been written out and had it indeed been an accident, “Halloween” would have scored a B+ from me).
The acting in the film is good. Lee Curtis is apt as a traumatized woman who has given her life over to her hatred of Myers. Greer plays her daughter well, and their dynamic is believable. Karen was taken from Laurie at age 12 by the State; this is due to teaching her to hunt and shoot guns, and, lacking a better word, to be afraid. However, their dynamic shifts when Myers re-appears and Laurie is there to protect her. A serviceable shot of Karen grabbing a gun with her initials on it is especially harrowing. Likewise, Green wisely avoid unnecessary clutter with the mother/daughter relationship that would have led to unneeded or unbelievable drama.
Myers is also workable, who appears the impossible yet full representation of evil. His murders are brutal and vicious (but not as brutal or vicious as in Rob Zombie’s version), and he establishes himself quickly and early. Once you get past the fact that we’re supposed to believe this is a 61-year-old man throwing people about, the film can be enjoyable and even scary. One sequence with one of Allyson’s friends and a child she’s babysitting is especially awful.
Yet, Green’s film somehow avoids the plight of many modern horror movies that follow “Saw” in utter gut-wrenching nauseousness. The camera doesn’t linger, instead making homages to the first film, sometimes obvious, and sometimes in reverse. You can tell Green is trying to make a film centered around atmosphere and not gore.
The film’s climax is good, and shows just how prepared for this night Laurie has become. It also shows the evil and unstoppable nature of Myers. Highlighted with low lights and an urgent score, it ends in a way that directly sets up the sequel. And, watching that trailer and seeing the sheer body count, we can only imagine the upped ante and viciousness that Green intends to bring.
All-in-all, “Halloween” is a decent film. It has one or two script mistakes, but makes up for them with ambiance, score, and horror. I’m anxious to see what Green will do with its sequel. Until then, we can content ourselves with Carpenter’s original or any other of your series favorites to whet our appetites.
“Halloween” is available to watch on Amazon Prime, Apple TV, Google Play, and most other streaming platforms.
