After surviving the fire in Laurie Strode’s (Jamie Lee Curtis) cellar, Michael Myers returns to another kill spree. With Laurie in the hospital recovering from her wounds, all of Haddonfield climbs up to stop Myers once and for all.
“Evil dies tonight!” call the awakened Haddonfield residents as they take up arms — at one point there is a literal pitchfork — for the Boogeyman incarnate Michael Myers to pursue. Unfortunately, evil is not the only thing that dies David Gordon Greenhis film, the 12th installation in the series and a sequel to his 2018 Halloween. Even staring at a flat grave is logical behavior, winning characters, suspense, style and any understanding of what makes John Schräiner‘s 1978 classic so special.
Halloween kills takes moments after the Green 2018 incarnation is over, with Myers surviving on a crisp burn by Laurie Strode (Jamie Lee Curtis). Laurie, bleeding profusely, is taken to hospital by her daughter Karen (Judy Greier) and Enkelin Allyson (Andi Matichak). It is at this point that the hospital, for no reason, becomes a focal point for gathering the city and capturing an honest poor manhunt to take down Myers.
Halloween kills bending conventions to the breaking point, it makes it impossible for one of the stupid victims to root.
The plot is divided into two, where the Myers voluntarily mobilize victims into a mob (led by ex-Brat Packer Anthony Michael Hall. Green and co-writer Danny McBride and Scott Teems circle an idea that our response to serial killer monsters can make of us all. It’s just a shame they deliver the notion with a sledgehammer.
Elsewhere, Myers goes about his business with the townspeople, but without zero surprise or excitement. There are no red hooks or wrists: if there’s a crack in the boards, a figure on the playground or a presence in the empty back of a car, you can bet it’s Michael Myers. Perhaps worst of all, when confronted by a group of firefighters with water hoses and axes, Myers turns into a one-man army in a boiler room, Jason Bourne wearing a plastic mask. It’s a genre stapler, too, expecting people to behave stupidly in a horror movie, but Halloween kills bending the convention to the breaking point, it makes it impossible for one of the stupid victims to root or care.
A few flashbacks to 1978 capture the texture of the original – there are some invented kills (including a very accidental one) and datt The subject always climbs – however, perhaps the biggest problem of all is that Laurie Strode becomes a sidekick in her own history. Once in the hospital, there is a (laughing) moment where she struggles with morphine to dispel her pain, but still she does not get into the action. Using neither Curtis’ ability nor the character’s intensely built relationship with her nemesis seems like a fallen ball, just another way the Green film goes awry. As Alan Partridge might say: Stop Halloween wrong.
Despite the strangely funny blood loss, Halloween Kills is mostly tired, boring, and an insult to everything John Carpenter first got.