Director David Gordon Green’s 2018 movie Halloween was great fun (reviewed here), a welcome callback to the low-budget filmmaking style of the 1970s, a sequel/reboot of the original horror film that set off a new era of scream queens and slasher horror films. But it was only the first act in a three-act opus that continues in Halloween Killsand will wrap next year in Halloween Ends. With this month’s premiere of Halloween Killson streaming platform Peacock Premium, fans will realize Gordon knows the franchise, the genre, and all that retro nostalgia that has audiences clamoring for shows like Stranger Things and Once Upon a Time in Hollywood. Complete with obscure characters from the corners of Haddonfield, Illinois, returning 40 years later, Halloween Kills is not just good horror but great–complete with all the non-apologetic, operatic gore and scares that have been the backbone of the modern monster movie mega-franchises first resurrected by John Carpenter and Debra Hill back in 1978. Since then we’ve seen the likes of Michael, Jason, and Freddy stepping in for Dr. Frankenstein’s monster, The Mummy, and the Phantom of the Opera.
Even better than seeing the original on the big screen again, writer-director David Gordon Green’s Halloween hits all the right notes to make the latest, but surely not the last, installment in the Halloween series the best sequel of the franchise. This Halloween may be the best horror sequel so far, in any series. Some may think that’s an easy task, yet for fans of the genre and nine previous sequels, including a similar effort 20 years ago with Halloween H20 and a reboot series by Rob Zombie, this weekend’s theatrical release will probably become the new go-to movie after the original, next year and the year after. Horror fans knew the film worked on paper–genre-defining scream queen Jamie Lee Curtis returning again to the role that made her famous, this time showing her extensive preparation for the inevitable return of the serial killer that she barely slipped past as a teenager, contributions from co-creator John Carpenter as executive producer and composer, and Michael Myers’s return, even performed by original actor Nick Castle and a weathered 40-year-old latex mask. The actual delivery fulfills the promise: the retro-style opening credits and Carpenter’s haunting theme prepare the audience for the suspense, thrills, and jumps over the next two hours.
Tha performances are everything: Curtis’s Laurie Strode is tough, smart, and prepared, but she’s not perfect, a bit addled by a lifetime of fear and not physically strong enough to take on Myers, so the outcome is not entirely predictable. Will Patton (The Mothman Prophecies, The Postman, Armageddon, Falling Skies) joins the cast as Sheriff Hawkins, an older version of the first young man to arrive at the original murder scene in 1978. He, along with Omar Dorsey(Castle, Chuck, Starsky & Hutch) as Sheriff Barker, bring the added gravitas and nostalgic vibe from former go-to Carpenter company cast members like Peter Jason and Keith David. Strode’s granddaughter Allyson, played by Andi Matichak (Orange is the New Black, Blue Bloods), like her grandmother, turns the horror genre upside down, as less of a victim, instead taking charge of the situation when possible. To a lesser extent the script provides some opportunity for Ant-Man’sJudy Greer to protect her family as Laurie’s daughter and Allyson’s mother. Rounding out the performances are a young Jibrail Nantambu as more than the stock kid stuck for Halloween night with his babysitter.
When a genre’s failings are part of what define it, even the film’s lesser components are consistent with the spirit of the original film. A doctor and an institution that are overly interested in a 40-year-old murder that gets mocked by a group of students, along with events that occurred in sequels that are ignored this time around and dismissed as the stuff of local legend, all somehow fit the movie and the genre. Could Carpenter himself have filled in some of the story missteps had he directed this one? Who knows. For the most part, Strode, Myers, and their new story follow the rulebook for the characters established 40 years ago.
