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Rating: R (Language | Grisly Images | Some Drug Use | Heavy Bloody Violence)
Genre: Other, Horror, Mystery & Thriller
Original language: English
Directed by David Gordon Green
Producer: Malek Akkad, Jason Blum, Bill Block
Script: David Gordon Green, Danny McBride, Scott Teems
Release Date (cinemas): October 15, 2021 Wide
Release date (streaming): October 15, 2021
Duration: 1h 45m
Distribution partner: Universal Pictures
Sound mix: Dolby Atmos, Dolby Digital
Aspect ratio: area (2.35: 1)
When David Gordon Green and Danny McBride unleashed Halloween on the world in 2018, it came as a surprise. After all, the property was dormant and seemingly used up. They found a way to reduce the series to what worked, which was essentially the slaughter of Michael Myers, Jamie Lee Curtis, and the classic John Carpenter score. That way, they made a nasty little delight, even though no one initially assumed they would continue the franchise. And yet, money talks, so here comes Halloween Kills, meant as the second part of a trilogy. While this is decidedly a step down from the last one, there is enough work here to warrant a recommendation.
Halloween Kills is essentially a 106-minute trailer for Halloween Ends, but that’s the middle-rate syndrome for you. If you wanted Michael to hack up more people last time, you’re in luck. While this is mostly just chaos, in addition to passing on trauma before, Green and McBride are trying to bring up a few new topics. Here it is the mob mentality and fear that increase evil. They aren’t always successful, but at least it’s meant to be more than just a throw-away sequel.
The story begins shortly after Halloween ends and continues the night Michael Myers (Airon Armstrong, Nick Castle, and James Jude Courtney in various places) returned home. Laurie Strode (Curtis), her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) faced The Shape thinking they had set it on fire. Evil doesn’t die that easily, of course, and while they’re on their way to the hospital, firefighters come to Laurie’s house to put out the fire. They meet Michael and are immediately slaughtered. So begins an even bloodier night of slaughter. All of this happens while Laurie is recovering in the hospital along with Officer Hawkins (Will Patton), convinced that their long nightmare is finally over. How wrong it is.
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“Halloween Kills” is as gruesomely brutal as a Michael Myers night out should be, though the horror sequel loses some of its skull-crushing effectiveness by juggling rampant carnage and social commentary.
While 2018 director David Gordon Green’s “Halloween” brought back the slasher franchise on a grand scale, the series takes a step back with the bloody sequel (★★ ½ out of four; rated R; in theaters and streaming on Peacock Friday). . The previous film showed a second leg between the masked villain Myers and the vengeful, empowered heroine Laurie Strode (Jamie Lee Curtis), 40 years after John Carpenter’s original “Halloween”. But by picking up exactly where the last one left off three years ago, “Kills” separates its two main protagonists, and not for the better. It just seems like a filling chapter before another major event, albeit with nasty kills, myth-building, and cool references.
The final “Halloween” wiped the series clean as a direct sequel to the first 1978 film, although “Kills” is essentially a replica of “Halloween II” from 1981, when Laurie spent precious time in a hospital to herself to recover from their injuries. She, her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) caught Michael in a fire trap and set out to have Laurie’s gnarled stomach wound treated. Michael is of course not so easy to eliminate as the essence of evil. He gets out — and drives into town with a crew of doomed firefighters — and continues to tear a gruesome path through Haddonfield that turns out to be more purposeful than random.
Green’s new edition also catches up with local residents like Tommy Doyle (franchise newcomer Anthony Michael Hall), whom Laurie protected as a boy all those years ago. As an adult bat, Tommy swings the city to take up arms against Michael and kill him once and for all (“Evil dies tonight,” they sing), although their anger defeats them more than once. Meanwhile, three generations of Strode women struggle with their roles in the hospital: Laurie is a fighter, but off duty, Karen wants everyone to stay safe while young Allyson longs to be like her grandma and join the fight .
Her plight and an insightful discussion between Laurie and the wounded warrior Deputy Hawkins (Will Patton) explores interesting philosophical subjects, and the film also has a lot to say about the dangers of the mob mentality that feels right now. But jumping between this one and Michael’s murder rush leaves the whole company seem unfocused, especially when compared to the stubborn, extremely self-confident film from 2018.
Even if her character is sidelined to some extent, Curtis owns this franchise and can show a more vulnerable, revealing aspect here after the empowered warrior struggles through the trauma of the last film. Greer is also impressive, as Karen is worthy of the name Strode, as is Hall, the 1980s comedy star (“The Breakfast Club”, “Weird Science”) who is the rough heart of this film.
There’s an odd break-up considering that Laurie was portrayed as a city outcast in the last film after decades of preparation for Michael’s return, while in the new she is toasted as a symbol of Haddonfield’s survival spirit. Tommy and the other locals, who meet annually to remember the fateful night of 1978 and now have to repeat it all over again, represent the greater impact of mass tragedy on a community rather than an individual.
When it comes to Michael’s deadly gadgets, “Halloween Kills” more than lives up to the title — the big guy is a huge fan of headshots this time around — and casts allusion to previous franchise entries, including the Myers-less Halloween III. : Season of the Witch. “It leaves viewers in a somber place even before the next movie,” Halloween Ends “(expected next year), even if it’s a bumpy, bloody way to get there.
In 2018, my review of David Gordon Green’s Halloween likened the semi-restart to a home renovation: taking a dilapidated mansion and working to restore it to its former glory. The original blueprints were whipped out and all of the junk and unnecessary accessories removed while production focused on further exploring the size of the foundation and original design. With smart, modern accents, a cabin turned into a home — one perfectly built for Michael Myers to break in so he can viciously murder all residents.
To expand on that metaphor, that house invasion (aka the natural continuation of the story) has now taken the form of Halloween Kills, and it’s a sequel that is popular both for its spectacular brutality and for its intelligent approach to continuing the Jamie Lee Curtis’ Laurie saga impresses Strode and the inhuman monster Michael Myers. Once again, it finds fantastic ways to tie in with the canonical events that played out on Halloween in 1978 without repeating themselves, while adding some well-executed commentary that adds to the story and horror.
Halloween Kills challenges itself right away by foregoing any kind of time jump and instead continues exactly where the last story left off — with Michael Myers in the basement of a burning property and Laurie Strode bleeding from a knife wound while she is with her daughter Karen (Judy Greer) and her granddaughter Allyson (Andi Matichak) rides away in the back of a cot. Without deceiving or undermining the effects of its predecessor, the Halloween 2018 film continues, noting that the battle against evil continues as the heroes stand out from all the other residents of Haddonfield who have been haunted by memories for 40 years , connect and them up to Try to end the nightmare once and for all.
While Laurie is being rushed to the local hospital for emergency surgery, news spreads that Michael has returned, and when the news arrives at a local bar, the spark hits a powder keg. This pub is home to Tommy Doyle (Anthony Michael Hall), Lindsey Wallace (Kyle Richards), Marion Chambers (Nancy Stephens) and Lonnie Elam (Robert Longstreet), survivors of the 1978 rampage who gathered to support one on the anniversary another when terrifying memories come to mind. Tired of being victims, Tommy and the others decide it is time to start the hunt — but when a terrible mob mentality develops, the white masked serial killer turns into one bloody night one of two deadly sources of fear.
Though he doesn’t have an established background in horror, David Gordon Green proved his Halloween fan credit with his 2018 film — but on Halloween Kills he’s partnered with co-writers Scott Teems and Danny McBride to dig deeper to break into the weeds of lore from John Carpenter’s original film, and it’s wonderful. Not only does the sequel effectively bring back a slew of notable characters (and not just on behalf of fan service), it also adds to the lore with intriguing new flashbacks to The Night He Came Home. All of this serves to further illustrate the deep wound the Michael Myers terror left in the psyche of Haddonfield, and this atmosphere then gives the town a fantastic chance that comes to a seething boil.
The sequel not only goes deeper into the 1978 film, but also meshes perfectly with the previous chapter. While Halloween 2018 leaves Dylan Arnold’s Cameron Elam at the costume party after, for example, destroying Allyson’s phone, he surprises with a big comeback in Halloween Kills and becomes an important part of the ensemble. The aftermath of the horrific murderers that night can still be seen very clearly, including an emotional moment with the mother of Drew Scheid’s Oscar, who fans will remember as a teenager whose head was impaled on a metal fence.
