By the time “Halloween: The Curse of Michael Myers” rolled around, the primary antagonist had achieved legend status. Like Jason Voorhees before him, he can’t be killed, continues to show up in Haddonfield undeterred to kill more innocents, and cannot be put down no matter what the town does. And while Director David Gordon Green’s upcoming “Halloween Kills” and “Halloween Ends” seem likely to put a stop to that, there’s no such treatment in Jon Chappelle’s “final” installment in the Jamie/Laurie/Loomis saga. This is by-the-numbers horror that really doesn’t transcend anything set up this far; however, lovers of the series will doubtless follow it through and relive it on many a Halloween-a-thon.
There’s nothing particularly notable or for that matter trite about this film. It takes place several years after “Halloween 5,” featuring a grown-up Jamie who has had a baby, with Michael Myers and a cult of some manner after her for her baby. She escapes only to be killed by Michael later; however, the baby has escaped, which makes for this movie’s chief plot point. The acquisition of Jamie’s baby is the key of this movie. It’s mixed in amongst Michael returning and killing a lot of people, unaware of any ‘mission.’
It’s here the series breaks down for me. Myers stalking and killing people on Halloween was his chief aim hitherto; it’s a bit goofy to have him ‘controlled’ by a cult who wants to see him do evil. In fact, I often pretend this plot point doesn’t exist so I can continue to enjoy these films. I don’t understand why filmmakers want to explain away horror; but alas, here we are.
Donald Pleasance returns as Dr. Loomis for the 5th and final time. Photo: Miramax.
“Halloween: The Curse of Michael Myers” has two strengths: its lead performances and its creep-factor, which is thankfully still in tact. The performances are mainly led by Marianne Hagan, who plays Kara, a relative of the Strodes, Donald Pleasance returning as Dr. Loomis, and the film follows horror standards and introduces a future star in the form of Paul Rudd, who plays the role of Tommy Doyle from the first film. Rudd is very apt, hinting at the star he would become, and Hagan is good too; scenes of her dealing with her uncle (Bradford English) hint at domestic abuse running through the house and adds to the chilling atmosphere. In fact these scenes of “The Curse of Michael Myers” feel like their own film, creepy and demanding.
From here, there’s not a lot to say. Myers is a threat, as usual, and is here played by George P. Wilbur, who adds a layer of macabre to Michael in his stalwart stalking and forceful nature. He kills his victims in variously-morbid ways, including one knifing that takes place while a third party watches that is vicious and sardonic. The film’s music and soundtrack are intact, and uses an updated version of John Carpenter’s original score. The film even introduces some additional creep factors in the form of a town rally to urge the denizens to accept the holiday of Halloween again, complete with a jerky radio host trying to take advantage of the town for publicity. There’s hints of this film’s follow-up, “Halloween: Resurrection” here, which doubtless got its ideas directly from this film.
Additionally, I like the way that “The Curse of Michael Myers” uses Dr. Loomis. The psychiatrist is not so much ranting and raving about how evil Michael is, but has accepted it. At the film’s beginning he is retired, but of course gets dragged back into action. But this time around he’s a realist. This would also be Loomis’ last film; regrettably Donald Pleasance would die, but the film does a nice thing at the end and dedicates this movie to him.
Marianne Hagan plays a competent heroine in “Halloween: The Curse of Michael Myers.” Photo: Miramax.
There’s not too much you can complain about with this movie save its insulting plot-line involving druid priests “controlling” Michael; until, of course, they find out that they can’t. I guess you can watch this and get something out of it. It’s just very hard for me to find enjoyment in this subplot. Like other lazy cinema treatments in this vein (mostly the “I controlled all your past villains” line in “Spectre”), explaining away the horror just makes the film less scary. Isn’t it enough that Michael is an unstoppable madman? Not for the filmmakers, I guess; but it must be hard to keep this storyline going, so maybe I can give them a break.
All-in-all, “Halloween: The Curse of Michael Myers” is a decent entry. It carries on the legend, surely hints at a sequel, but in a jump from form, isn’t obvious or contrite. Loomis believes Michael is unstoppable, and the filmmakers run with that and leave his continued existence unanswered. The film additionally has some fun jump scares and kills, and has good acting, most notably Hagan and Rudd’s. This film was doubtless meant to be the end, but, realizing the series was too liked to let go, would return with “Resurrection” in 2002. While it has some disappointing bits, “Curse” is a fun-enough film and will whet anyone’s appetite looking for more Michael Myers.
“Halloween: The Curse of Michael Myers” is available to rent or stream from most streaming platforms.
