Face Your Fate

 40 years after Michael Myers's debut, Halloween returns to the big screen. Directed and written by David Gordon Green (Stronger) with Danny McBride (Eastbound & Down) and Jeff Fradley (Vice Principals) as co-writers. Jamie Lee Curtis (Freaky Friday) returns as Laurie Strode, who "comes to her final confrontation with Michael Myers, the masked figure who has haunted her since she narrowly escaped his killing spree on Halloween night four decades ago". Greenlit quickly after the successful It reboot, will it be a 'Happy Halloween' for Blumhouse?

1978's Halloween was a contained, suspenseful and slick horror that quickly became a genre classic. 40 years later and 2018's Halloween ups the intensity and violence but never quite delivers on adding substance and genuine development to Haddonfield, Illinois's fatal occurrences. There are some clever call-backs to the original and it is great to see Jamie Lee Curtis, a 59-year-old woman, at the forefront. There's nothing about this long-awaited sequel that makes it revolutionary or a necessity but it does effectively set the tone for the spooky season. Despite being slightly underwhelming, Halloween does succeed with its barbarity and scares. 

The most notable thing about Halloween is its brutal and unforgiving violence. Myers mindlessly kills the innocent, from young children to teen babysitters. After murdering a random mother, Myers approaches her crying baby and it is arguably the film's most uneasy and disturbing moment. Thankfully, Myers passes on ending such a young life; his previous killings create genuine stakes and cross plenty of boundaries that viewers will be convinced that nobody, even an infant, is safe. Myers kills one of his victims by crushing their head like a pumpkin. This imagery is particularly stirring and gruesome. Halloween's extreme violence is gut-wrenching and unsettling to witness but there are countless startling jump scares that add to the intensity. Weirdly, Myers isn't the cause of most jumps - it is dead bodies suddenly moving and cuts to loud noises that elicit a frightful response. David Gordon Green effectively establishes a tense atmosphere and resurrects the slasher genre. 

Laurie Strode is one of Jamie Lee Curtis's most iconic roles. Curtis impressed in 1978 and became one of horror's 'Scream Queens' (she also went to star in the TV show of the same name). Halloween should have been Curtis's time to shine once again but she, unfortunately, feels underused. There are too many characters, new and old, for Halloween to truly examine the effects of the traumatic events she experienced in the late 70s. Halloween could have been a character study that explored paranoia and mental health - what if Michael never actually escaped? - but instead chooses to take the conventional route with an endless killing spree and predictable story. Green, McBride and Fradley only scratch the surface with Laurie's paranoia; she still feels anxious around Halloween and brought her daughter up to be tough and prepared. It is foolish of Laurie to wish for Michael's escape (although her reasons are understandable) and despite years of planning, she clearly isn't fully prepared; Laurie mistakenly shoots a mirror instead of Michael and stands against glass panels that can easily be smashed. Halloween would have benefited from even more of Jamie Lee Curtis. 

Halloween showcases the generational impact Michael Myers has had on the Strode family. Not only was Laurie's daughter Karen (Judy Greer) brought up in fear but her granddaughter Allyson (Andi Matichak) is also scarred by the family's terrifying past. It is unfortunate that Laurie didn't grow up to be a great mother. The writers could have explored the relations between Laurie and her family further. Matichak's Allyson impresses as a smart but terrified teen who successfully escapes danger. Allyson finds herself trapped in a car with Dr Sartain and Michael but uses Sartain's weakness to breakout. It is also satisfying at the end of watch the three women work together to defeat evil. 

Halloween begins with two researchers visiting Michael Myer's hospital (Ed and Lorraine Warren style). This promised a deeper look into the character's psychology and motivations. This quickly became another of the film's unfulfilled promises. The writers do not even attempt to develop Michael Myers even though all of the characters around him want to know more. Although this adds to the character's ambiguity, it would have been interesting to find out why Michael obsesses over Laurie and her family. It is probably no coincidence that the people researching and studying Michael fail to survive. Myers continues to be ruthless and extremely dangerous. Dr. Sartain (Haluk Bilginer) makes an interesting point - it is important to protect Michael because he embodies evil. It is frustrating that there are characters who psychologically analyse Michael but the audience are barely told their findings. The finale hints that Michael escapes Laurie's trap, suggesting that a potential sequel could explore the character further. 

1978's Halloween is better than 2018's. In '78, the idea was fresh and Michael Myer's introduction scared the world. Although Michael will undeniably terrify audiences in 2018, this sequel isn't as well-crafted. The plot is essentially an updated rehash of the 1978 original - Michael escapes from a mental facility, kills babysitters and terrorizes Laurie Strode. However, I did like David Gordon Green's call-backs to John Carpenter's creation. In the film's final confrontation between Michael and Laurie, Michael pushes Laurie off a balcony and she disappears. Later on, Laurie emerges from the darkness with a knife and sends him into her trap. The roles have been reversed and Laurie plays Michael at his own games. Kudos to David Gordon Green for pulling this off. Since 1978, Halloween's significance in pop culture has risen and 2018's Halloween subtly acknowledges this. From adults dressing up being the norm to teens throwing extravagant parties - maybe a scare maze could feature in the sequel? 

David Gordon Green had the opportunity to reboot Halloween with a sequel as slick, smart and suspenseful as the original. I would describe Green's attempt as half-hearted; he and his fellow writers fail to delve deeper into the Halloween mythology despite hinting at answers. Halloween could have been a sophisticated character study that analysed Laurie and Michael's mental state and motivations. Alas, the screenplay from Green, McBride and Fradley isn't that intellectual. Although it is great to see an older woman at the forefront of a horror film, Jamie Lee Curtis is ultimately underused. Judy Greer and Andi Matichak are nice additions as her daughter and granddaughter though. 2018's Halloween may be disappointing but at least there is enough gore, violence and fear to introduce the infamous Michael Myers to a new generation. A Halloween that could be happier.  

63

/100

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