It’s hard to go to the movies these days; they seem to barely exist.
Instead, we get episodes – episodes that stop constantly in epics. James Bond I was longing for a lover who had sent four movies before. Superheroes roaring about ‘blip’. What is avoided is the difficult process of suspense and release, of structuring stories worth telling, of creating memorable moments. The filmmakers—mostly producers and marketers—use the lever mechanism to meet the dwindling expectations of the hapless folks out for the final installment.
It is depressing to think about and even more so to witness. Rarely will you find that this tragic operation has such an empty product that it numbs your soul. halloween Kills, A film that so absorbed the vitality of John Carpenter’s and Debra Hill’s original vision that it would be disrespectful if it didn’t sound more entertaining than it actually is.
The twelfth film in the series that began in 1978, the new film begins seconds after the last one, 2018, like an ongoing sentence that needs punctuation. Halloween, concluded.
Before we can hold our breath, haunted Officer Hawkins (Will Patton) bleeds from a stab wound to his neck, a boy’s head is scraped into a wrought-iron tower, and Laurie Strode (OG Jamie Lee Curtis TV series) is killed. He was taken to the hospital with a stomach injury. Meanwhile, Michael Myers is on the prowl of his old neighborhood once again, which survived being burned to the ground in Laurie’s basement. (During the case, it would similarly outlast countless gunshots and stab wounds, plus a baseball bat hit and a pitchfork to the back.)
At a local bar, survivors of the original attacks, including Anthony Michael Hall, a new addition to the series, who plays the adult version of the boy Laurie was babysitting years ago, form an unofficial support group that turns into a bloodthirsty group. as the mob catches wind of Michael’s final rage. In more capable hands, the idea of Myers infecting a vicious group of vengeful citizens (a window-smashing attack on a local hospital in the shadows of January 6th) might have held promise; When it lands on a movie that isn’t deeply involved with any idea, it comes out half-baked.
The director, who needed to participate in all this angry action, David Gordon Green it should remove the suspenseful atmosphere that made the original movies so compelling. All in all, the bland and unthemed presentation of a boogie man’s ever-increasing body count accumulation is as frightening as watching a middle-aged weekend warrior check his to-do list at Home Depot. It doesn’t help that the pace of the movie is as clumsy and clumsy as Myer’s slow-paced, aging offensive lineman’s lollop.
Written by Green, his Pineapple Express collaborators Danny McBride and Scott Teems (2020s Stone pit), the script is a collection of shallow aphorisms about the nature of terror and evil never dies, seemingly plucked from a collection of Gothic-themed Dixie mugs. No one in the talented cast, not even the great Judy Greer, who returned as Laurie’s daughter from the last movie, could overcome the script’s deep emptiness. A brilliant actress who can stand up to just about anything she’s in, here she outclasses Greer, the holiday sweater she wears to every scene.
Bringing us grace that saves Killed by Hollywood, currently scheduled to follow next October halloween ends (we should be so lucky): Jamie Leigh Curtis’ screen queen survivor’s guilt drives her insanely insane. He’s great in one scene, injecting himself with a painkiller so he can join the team hunting his stalker.
Otherwise, Curtis is completely wasted and spends most of the processing on a hospital stretcher to heal from the injuries he got in the last movie. I hope they give him time to recover before taking him on another tour. Unless the original ‘last girl’ of the series is at her full strength and is in a position to dominate every scene, there is no reason why all this effort – incapable of shocking, engaging or even disgusting us – should keep coming back from the grave. .
Observer Reviews are regular reviews of new and notable cinema.