‘Halloween’ Review: Babysitters (as well as Jamie Lee Curtis) Beware!
This kind of’s been four decades since Michael Myers as well as his fright mask first gave us the willies in John Carpenter’s “Halloween,” which makes him 61 — as well as, if David Gordon Green’s same-name sequel is usually to be believed, still in possession of a ramrod spine, pile-driver fists as well as non-arthritic knees. The meals at Smith’s Grove Sanitarium, where he’s been cooling his heels all these years, must be unusually nutritious.
On the different hand, Laurie Strode (Jamie Lee Curtis), the feisty Illinois babysitter who once eluded Michael’s stalk-as well as-slash spree, has aged more credibly than her nutjob nemesis. today a grandmother as well as self-described basket case, Laurie has weathered two failed marriages as well as estrangement by her daughter, Karen (Judy Greer), who’s scarred by a childhood steeped in doomsday preparation. Eyes burning beneath a fluff of gray hair, Laurie lives in a fortresslike home having a hidey hole from the kitchen as well as gun cases in place of art, convinced which Michael will one day return for her. (She may be paranoid, however she’s no fool: When two true-crime-seeking English podcasters show up at her steel gates, she says little to help them as well as sends them packing.)
[Read The brand new York Times review of the original movie]
as well as return Michael does (played by James Jude Courtney, having a cameo by the originating actor, Nick Castle), escaping by a prison-transfer van on Halloween night as well as lumbering back to finish the job. At This kind of point, Green (who wrote the script with Jeff Fradley as well as Danny McBride) makes a crucial decision. Brushing aside the mostly wan intervening attempts to resurrect Carpenter’s minimalist masterpiece, he has made a straight-up sequel, a rematch between heroine as well as villain. This kind of isn’t a wisecracking, tongue-in-cheek picture: Green wants us to believe in his Bogeyman, as well as Curtis is usually his ace card. Leaving no room for winks or giggles, she makes Laurie’s long-festering terror the glue which holds the movie together.
as well as we need her, because otherwise the filmmakers have little however a conventional slasher movie sprinkled with memory triggers as well as callbacks to its source. The familiar voice of Donald Pleasence (actually a sound-alike), as Michael’s former psychiatrist, is usually heard on an audio tape, as well as iconic images — a slatted closet door; a hulking, streetlamp-lit figure — press our pleasure buttons. As does the familiar musical theme, goosing the action as fresh babysitters as well as randy boyfriends are imperiled, including Laurie’s granddaughter (Andi Matichak). however the body count is usually respectable, if unremarkable, by today’s standards: The original “Halloween” was never about volume.
Perhaps pandering to viewers who these days expect a higher yuck factor, This kind of brand new iteration is usually more gruesome yet much less scary, its sleekness as well as efficiency poor substitutes for foreboding. Sorely missing are Carpenter’s moderation as well as patience, the restraint which turned simple shots of a darkened stairway as well as a hushed, leaf-lined street into dread-filled spaces. His Michael was both man as well as myth, particular as well as universal, psychopath as well as supernatural entity. There’s a reason he also appears from the credits as the Shape.
By sending Michael forth to perform his greatest hits — like back-seat lurking as well as unexpectedly sitting up — Green reduces a character who was the ultimate mystery to an audience-prompting device which feels as worn as his perfectly aged mask. Though I suppose when you’re a mere knife-blade away by collecting Social Security, no one can blame you for looking a wee bit tired.