When John Carpenter and Debra Hill created Halloween in 1978, they could never have anticipated that their low-budget independent horror movie would become one of the most long-lived film franchises i
n Hollywood. As a matter of fact, if had been up to them, Michael Myers would never have been seen again after tumbling out of the second-story window of his childhood home and vanishing into the night.
12. Halloween: The Curse of Michael Myers John Carpenter has always argued that the more the audience learns about Michael Myers, the less interesting he is. There’s a reason the character is credited as “The Shape” in the original film, rather than by his given name. In Carpenter’s reckoning, Michael Myers isn’t a man, he’s the embodiment of evil. He doesn’t need to have a motive or much of a backstory beyond inexplicably murdering his older sister at the age of six.
11. Halloween: Resurrection What is it about horror movies from the turn of the millennium that made them feel dated the moment they were released? Halloween: Resurrection is a time capsule of the cultural frenzy around that crazy new thing called the Internet. In this film, the crew of an online reality show drops a group of frisky college students into the abandoned Myers House, each wearing a camera and microphone.
Again, this by itself might work as a chapter in a larger whole, but as all of this is going on, Laurie Strode , her daughter Karen , and granddaughter Allyson are still in the movie, still ostensibly the lead characters, but doing not much of anything. Halloween Kills doesn’t feel like the second part in a trilogy so much as the second act of a movie, a middle with no beginning or ending.
Her likable foster sister Rachel is quickly cast aside, but her sudden death in the first act is a surprisingly effective twist, even if her narrative replacement Tina feels like a bit of a cartoon. Those two cops who have god-awful theme music? They’re kinda fun! Carpenter reluctantly cranked out the script to Halloween II in a drunken haze, grasping for ways to continue a story that was already finished. Set immediately after the end of the first film, Halloween II follows the Shape’s ongoing rampage through Haddonfield and reveals that Laurie Strode is actually Michael Myers’ sister. Carpenter, who ceded directorial duties to Rick Rosenthal, would later denounce the film as “an abomination.
Halloween 4 is most memorable for its shocking twist ending, in which Jamie, after the apparent death of her homicidal uncle, dons a clown costume like the one young Michael wore the night he killed his sister and then stabs her own foster mother. We’re not given an explanation for this turn, and yet, it feels inevitable from the moment Jamie finds the costume in the store earlier in the film.
Unfortunately, the dynamic between Michael and Loomis makes Laurie Strode sort of an afterthought. While she wasn’t a terribly well-defined character in the original, serving as an audience cipher more than anything, this version of Laurie suffers from the movie simply not being about her in any way.
H20 has a realistic but relatable grown-up Laurie, a new generation of doomed rambunctious teens, and LL Cool J as a security guard who dreams of being a novelist. The new setting immediately freshens things up and avoids direct comparisons to the rest of the franchise, and the whole thing ends with a satisfying, definitive conclusion to the series. Of course, the story doesn’t actually end here — they still brought back Michael for Resurrection — but we can all pretend that didn’t happen.
The film depends on the audience accepting that, of course, the Shape harbors a grudge against the anonymous babysitter who survived his rampage 40 years ago, rather than, say, his psychologist who shot him six times, because Jamie Lee Curtis was the star of the original film and Donald Pleasance has been dead for 20 years. However, this kind of nitpicking can barely chip away at what is a really solid horror film, and one of the best in its storied franchise.
Perhaps if Halloween II hadn’t established the precedent that Halloween and the Shape were one and the same, viewers might have been more receptive to the series as a different kind of horror movie perennial, a sort of theatrical Twilight Zone. Sadly, this was not to be, and we’d all have to wait another 40 years to get another Halloween movie this daring.
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