New ‘Halloween’ is the best since the original
A new coat of paint, even on a storied house of horrors such as “Halloween,” can do wonders.
Psychopath Michael Myers, knife in hand, again hunts Laurie Strode, just like he did in John Carpenter’s original 1978 classic. But now co-written and directed by David Gordon Green (“Stronger”), the new “Halloween” ditches all of the franchise’s previous sequel mythology. Thestrong results should be a takeaway for every other scary-movie series that’s aimlessly never-ending.
By staying true only to the initial narrative, this “Halloween” solidly ranks as the best chapter since the first – not exactly
‘Halloween’
Jamie Lee Curtis, Judy Greer, Andi Matichak
R for horror violence and bloody images, language, brief drug use and nudity.
Great Fair David Gordon Green.
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the highest bar – mostly by making Laurie (a remarkable Jamie Lee Curtis, whose last appearance in the series was 2002’s “Halloween: Resur-
There’s no denying that the relationship between father and son can be a strong one. For David Sheff and his oldest son, Nic, it was a relationship that was put to the test. ❚ In “Beautiful Boy,” which is based off of David’s memoir “Beautiful Boy“and Nic’s memoir “Tweak,” director Felix Van Groeningen unflinchingly depicts the struggles and hopes of a family affected by drug addiction in a powerfully honest movie with
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rection”) anything but a victim. And while it sticks mainly to the usual successful template, sending Michael on a slashing, slicing murder spree through Haddonfield, Illinois, Green’s worthy revamp is also a nuanced look at mass tragedy in America through the lens of a survivor forever haunted by one deadly incident.
Former baby sitter Laurie has turned doomsday prepper, turning her home into a heavily secured headquarters for when Michael returns one day. But she’s estranged from her daughter, Karen (Judy Greer), who was taken away by the authorities when she was 12 because of her mom’s obsession with protection, and Laurie is close only to granddaughter Allyson (Andi Matichak), which leads to some awkward family outings.
Then there’s Laurie’s infamous foe Michael, played by James Jude Courtney (though Nick Castle, the original Myers, makes a cameo). He hasn’t said a peep in four decades since his bloody rampage – and is still pretty spry for an old guy. A couple of British podcasters (Jefferson Hall and Rhian Rees) have crossed the pond to get to the “why” of Michael’s attacks on the 40th anniversary, and their trip coincides with a bus transfer from the asylum to a new prison that goes very wrong. Consequently, Michael gets his signature mask back and cuts a path to face Laurie once again.
Green pays homage to Carpenter (who garners an executive producer credit and gets a new mix on his iconic theme) while adding his own film language. The director takes the audience into Laurie and Michael’s worlds with a variety of close-ups, from the multiple locks on her door to the teeth he’s violently pulled out of some unfortunate dude’s mouth.
Green also throws in an innovative tracking shot following Michael on his savage door-to-door assaults (which intriguingly leave a crying baby unharmed).
The population of Haddonfield, unlike Laurie, is totally blindsided, which is the most insightful and relevant theme of this “Halloween.” When the ’78 killings come up in teen conversation, one kid almost dismisses what happened: His argument is that only five people died, hinting that his generation has borne witness to worse atrocities. Even Allyson tells her grandma at one point, “Get over it.”
It’s not that simple for Laurie, and ultimately what grounds the insanity of the horror is the three generations of Strode women, especially Greer (who usually plays the best friend in films but gets more to do here) and Curtis. Like a stone guardian, Laurie stands outside of Allyson’s school keeping watch over family, even as she’s seen as the town crazy, and rages in her car as she watches Michael’s prison transport leave.
It’s a visceral release from being haunted by just the existence of this “pure evil” and a harbinger of what’s in store, including one excellent climax, for the villainous Michael when he – and an audience ravenous for it – get a mask full of Laurie’s unbridled fury.