Starring: Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, Nick Castle, Toby Huss
Director: David Gordon Green
Running Time: 105 Minutes
Rating: R for Relentless Knife Piercings All Over the Body
Release Date: October 19, 2018
What if your purpose in life is to kill people? What if your purpose in life is to be in a decades-long struggle with that killer? Horror sequels that come many years after the original and feature the same main character unavoidably grapple with matters relating to the circular nature of fate. Halloween, the same-named sequel to John Carpenter’s 1978 original, is especially committed to those questions in a way that deepens the meanings of Michael Myers and Laurie Strode without straying too ridiculously far from their initial incarnations.
As a direct sequel to the 40-years-earlier initially entry, this Halloween ignores everything that happened in all previous sequels and reboots. It is thus somewhat confusing that it opts for the identical title, but it is also thematically appropriate. Director David Gordon Green and his co-writers Danny McBride and Jeff Fradley are working under the presupposition that where evil struck once, it will strike again, in much the same manner that it did before. That is certainly what Laurie Strode believes, with Jamie Lee Curtis returning to her iconic role once again by jumping headlong into the disaster preparedness lifestyle. Michael has been locked away since the night of his rampage, but Laurie is convinced he will escape and kill again. Her relentless focus on readying herself for that probability has helped her survive, but it has also ruined her relationship with her daughter (Judy Greer) and anyone else she has ever been close with.
Green understands what made Carpenter’s approach so effective, as he similarly relies on tension-building instead of jump scares when showing Michael at work. We see more of the bloody brutality than we used to, which in one way is an indication that it is so hard to shock anymore but in another way is so frightening in its implication that rehabilitation may be impossible in some cases. For Michael, killing is practically a vocation. There are attempts by a few characters to explain his motivations, but he remains so terrifying mysterious, because the explanation ultimately never goes beyond the tautology of “he kills because he has to kill.” While Laurie is one of his favorite targets, there is a mythically eternal element to their struggle that suggests that he cannot ever actually kill her and also that she cannot ever kill him. Thus, at the moment that she gains the upper hand and we see his confused reaction, it is devastating. Not because we sympathize with the killer, but because the saga may very well have finally reached the point when it must end.
Halloween is Recommended If You Like: Halloween (1978), Disaster preparedness
Grade: 4 out of 5 Stabbings