David Gordon Green’s Halloween Kills

When David Gordon Green’s 2018 Halloween dropped I didn’t quite believe that talk of an entire trilogy was true because we’ve heard that one before. As such, there were things that felt unwieldy, strange and open ended in the narrative that are explored further and deeper in Halloween Kills, a film that is getting some serious bad mojo out there in internet land. Well, it’s certainly not perfect, but I still enjoyed it for what it was: an expansion on the 1978 Halloween night and Myers lore with a whole circus tent of new characters, comic relief asides, callbacks, fresh themes and a surprising amount of actors from Carpenter’s original film returning once again. It’s hectic, it’s cluttered, at times it feels like far too much is going on but there’s also this feverish momentum to it as Jamie Lee Curtis’s Laurie and her whole band frantically run about trying to track down Michael and kill him. There’s her daughter Karen played by the always lovely Judy Greer and granddaughter Allyson played by Andi Matichak, a wonderful actress who creates a character you care about and is the emotional lynchpin of this new vision, I like the dynamic between the three of them that is given more room to develop here. Will Patton returns as Haddonfield’s toughest Sheriff’s Deputy, it’s always nice to see him and I’m not sure what’s spoiler territory or not in mentioning who shows up but none of it seems to really be a secret, they are kind of hit and miss across the board. Anthony Michael Hall is oddly stilted and stiff as grown up Tommy Doyle (where’s the 78 Doyle actor?) , while Kyle Richards is utterly sensational reprising her role as now adult Lindsay Wallace, she has become a terrific actress, a beautiful woman and the closest the film gets to a true retro Scream Queen, she rocks it in the single most suspenseful Michael sequence I’ve seen in these intense new visions. Equally effective is the wonderful Robert Longstreet as adult Lonnie Elam, exuding the same gritty humanity he brought to Mike Flanagan’s Haunting Of Hill House and Midnight Mass. This might be the most ambitious Halloween sequel we’ve seen yet and, naturally, not all of it works or clicks into place in a way that feels earned and organic, but look back at each instalment in the canon and you’ll find films that aren’t perfect, are rough around the edges but to a true diehard fan of this franchise (raises hand) all have some lovable quality or aspect that can be enjoyed and held dear. Except for for Resurrection, fuck that movie right up it’s Jack o’ lantern ass. But Kills is a sequel with a lot of inspiration and heart for the Myers mythos, the overarching Haddonfield saga and the slasher motif. There’s a sequence in the film where Haddonfield’s residents are whipped up into an angry, frenzied mob trying to hunt down Michael, but they become a maniacal, non thinking rabble with tunnel vision instead of carefully examining their situation and forming a tactical, realistic plan. I see a lot of that on the interwebs, where one bad review snowballs into a fervour of keyboard mashing until a big dumb mob forms to rip the film a new one. But did that first guy even see the thing, or form a focused, logical assessment of why the film is bad? Did you, dear critic, even read that before suiting up and joining the ranks? If you saw Halloween Kills and genuinely thought it was a bad film and can concisely articulate for us why it didn’t work for you, then carry on. But don’t just pitch your voice in tune with the din because that’s the way the fish are swimming, because that doesn’t make you cool, babe, it just makes you boring. I for one got a lot of enjoyment from the film, both in that special nostalgic spooky way the original two films made me feel and in a fascinating expansion of lore sensibility too. It’s not a perfect film and maybe not even a great one, but it sure works as an effective, formidable and entertaining chapter of the Michael Myers legacy for me.

-Nate Hill

David Gordon Green’s Halloween

David Gordon Green’s update on John Carpenter’s Halloween is currently slashing its way through theatres, and aside from a few nit-picky asides, it’s a winner, both in terms of a genuinely scary horror and as the long awaited sequel to a film that practically reinvented the printing press of the horror landscape.

The new Halloween is sleek, vicious, aesthetically pleasing and brings back Michael Myers to do far more killing than he ever did the first time around, as this takes place in a universe bereft of any other sequels, an interesting choice which gives the it a fresh, immediate vibe. Also back is Jamie Lee Curtis’s Laurie Strode, who has calcified into a paranoid, blunt realist who doesn’t so much worry if Michael will come home, but just somehow knows it in her bones. Judy Greer is fantastic as her estranged daughter Karen, Toby Huss provides great comic relief as her husband and Andi Matichak is a sensational find as Laurie’s granddaughter Alyson, who echoes both the resilience and vulnerability we remember in Laurie when she was her age. Will Patton also kicks ass as the Haddonfield Sheriff’s deputy, always great to see him.

It’s nice to see references that aren’t overt or forced, but woven into the narrative almost seamlessly and with purpose. Many instances feel serendipitous, and as the infamous classroom scene always intones and reiterates here, fate is an inexorable bitch from which there is no escape. Green and his team have lovingly made Michael the relentless stalking Shape we fondly remember, using fluid tracking shots, lingering suspense, mounting dread and those classical music cues to herald his arrival on the fringes of nocturnal suburbia like a monster in a bad dream. There are impeccably orchestrated scares involving a closet and a motion sensor light that are impressively effective and nerve shredding. There were a few things that felt dumb, like the extended involvement of a Dr. Loomis proxy called Sartain (Haluk Bilginer) who at first is welcome until his arc gets inexplicably loopy, as well as some ham fisted writing for Alyson’s male friends, one of whom is so irritating I wish they’d casted an actor who looked and sounded like less of a ripe cheese, but oh well, at least he’s short lived.

Now, my favourite thing about the film: that beautiful score, and I’m not just referring to the original jangly tune. Carpenter himself, his son Cody and Daniel A. Davies worked together to not only rework the iconic theme a bit but compose swaths of new stuff, atmospheric passages and nightmarish synths that are instantly worthy of the main theme. This is definitely the best sequel since the original Halloween 2, which can be considered a companion piece to Carpenter’s first anyways as he reportedly directed chunks of it. This feels like a slasher should, but it’s also smart, deliriously stylish and scary in that elemental way where it’s not the violence itself that haunts the experience, but the spaces in between where Michael is lurking with intent and the suspense builds. That’s what Halloween is about.

-Nate Hill