Michael Myers is finally back under the camera of David Gordon Green who directly takes the part of making the sequel to the first opus directed by John Carpenter in 1978. A very daring choice since he does not remove less than six films from the timeline without counting episode three which has nothing to do as well as the two remakes of Rob Zombie for a total of nine feature films. This our critic of Halloween movie.
Halloween movie critic
Some might see it as disrespect, I see on the contrary an intention to do well by removing all the subterfuges that truncated the spirit of the Halloween franchise with Myers becoming a real zombie being able to mate by psyche (j ‘happening and of the best as it is grotesque) which inevitably led this cult title to episodes reaching the true rank of turnip. A good sweep that comes to do honor to the original work by removing certain suites considered to be real flaw.
However, I give legitimacy to the second volume produced by Carpenter which looked like a good sequel, but the ultimate revelation that Michael Myers is Laurie Strode’s brother and that is why he was attacking her did not. Not everyone liked it because it gave the masked killer a purpose and legitimacy. This is why there too the writers preferred to do a big cleaning and return to the base by making a direct sequel this passing 40 years later. With such an intention the filmmaker has no right to make mistakes even if he can count on the support of Big John.
So now what is this movie worth?
Halloween movie 2018 is recorded in the worthy plot of Carpenter, to which he pays tribute at the same time while positioning itself as an experimental rereading. We find there what made the cult of Carpenter with its 80’s atmosphere, its various meticulous shots, as well as its epic soundtrack composed by Big John which for the occasion to add an additional totally welcome title.
Where David Gordon Green stands out is that he does not content himself with paying tribute to the basic support by imitating it, he stands out and seeks to bring his stone to the building by breaking with the codes basic slasher. A conscientious approach that stands out. This is how where Michael in all the Halloween movies was positioned as the hunter this time found himself reversed in the roles with the ex-victim Laurie Strode as the executioner.
The staging follows this upheaval perfectly, going so far as to oppose the situation of the disappearance of the murderer from the victim’s field of vision to reappear where we do not expect it and strike. In any self-respecting slasher horror film, it is always the martyr who disappears from the eyes of his martyr the better to surprise her from behind and kill her, and here the roles are totally reversed. This brings a field of vision that contrasts and changes the game.
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The production of this Halloween movie is neat and rather technical, offering us a good number of superb sequences. We are far from a classic staging format of a slasher which in general is content with little with a rather bland and static image rendering only existing with jumpscare. The filmmaker does not make us this affront and allows himself to be inventive and to refine in his proposal; as with the scene this passer-by in the asylum where we reach the paroxysm of the tension or the famous sequence shot superbly brought and energizing the black march of Michael.
Now let’s talk about the characters who feed this funeral fresco
Michael Myers, the bogeyman, a true ghostly chimerical print of evil, is as radical, brutal, relentless and cruel as ever, offering us a multitude of striking murders. Armed with his famous white mask and his butcher’s knife we find him wandering with his throbbing pace and all his stature during Halloween night. Where in the very first opus Michael took his time by spying on his victims at length like a voyeur before murdering them, this time he takes less time and quickly gets to the point. As if these forty years of confinement had made Michael impatient and even less controllable, which added more insanity and danger to him.
My favorite comes from Laurie Strode, still embodied by the one and only Jamie Lee Curtis who returns completely to transmute after all these years. Gone are the days when the babysitter ran away crying and screaming, hiding from the murderer. Now is the time to fight back and end it once and for all. This as well as the actress returns in front of the camera more badass than ever reminding without difficulty the strong moments of our dear Sarah Connor in Terminator 2. The first part of the film focuses enormously on the traumatized psychology of Laurie.
I found this aspect superbly developed, a lambda title would be happy to quickly show that the victim is traumatized five minutes to get back in shape just after, here we are shown how the events of 1978 were a real shock a real lesion that fueled and built Laurie Strode’s life to a point where she almost seemed insane and even traumatized her own daughter.
Karen Strode played by the actress Judy Greer pleasantly surprised me, I saw her as a boring vase to the possible lesson giver will prove to be a character deeper and driven than it seems she who to share the hell of the trauma of his mother. As for the rest of the cast, I have to admit, it’s not terrible. Ultimately the two journalists are doing well and doing their jobs well making the intrigue interesting to better fall back into flatness for about fifteen minutes but luckily Laurie Strode ends up arriving and we find ourselves in a long act enjoyable final.
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We find some cliché roles like the famous idiotic and prepubescent teens asking for sexes that will inexorably end up under Michael’s blade. A somewhat cliché approach to young people but not useless and free since it serves as a tribute. We also have a few touches of humor here and there which fortunately take up little space (phew we were hot, because fed up with this humor almost obligatory in all genres).
Final thoughts on Halloween movie
David Gordon Green signs after 40 years an excellent sequel which honors the original version of John Carpenter. Both eager to respect the basic work and also to include his own design, this one manages to make ends meet by offering us a return of the famous croquemitaine Michael Myers with an anthological sequence in front of a Laurie Strode more badass and deeper than usual. An energizing achievement which is not without flaws (certain platonic moments, acting not necessarily credible) manages to go beyond the framework of the little slasher by offering technically accomplished and inventive sequences always supported by an epic soundtrack.