So, over twenty years later Rick Rosenthal would return to the Halloween franchise for this entry. I honestly have never liked Halloween: H20 for a multitude of reasons, and I don’t wish to sit through it again to review it. Thus, I was so immensely glad that this film promptly retconned the ending of that movie, and allowed for Michael Myers to live again and not die like a punk. I know there are those who disagree with that feeling, but so be it. While I do find this sequel enjoyable to a degree, it does have valid issues to critique about it.
For the first broadcast of the new reality website Dangertainment, a group of college students are hired to explore the ruins of the house of infamous murderer Michael Myers. Six cash-strapped friends decide to explore the home, but what they don’t know is that Michael is on his way home back to Haddonfield after a fateful confrontation with his sister Laurie Strode (Jamie Lee Curtis). Now, being broadcast across the internet, these unsuspecting victims will fall prey to Myers’ methodical blade.
If this movie was made ten years later, it probably would have been a found footage horror movie. Very little would have to change to accommodate that approach, but thankfully, that’s not the case here. I can understand why this story idea was used. This is the eighth movie in this franchise, including Season of the Witch, and a studio is going to feel like they need a fresh gimmick to drive in audiences. Paramount felt the same thing when they made Jason Takes Manhattan. The problem is that these ideas are usually not all that favorable with audiences. I love slasher movies, but I do like someone doing something fresh with the formula every so often. Frankly, I think Halloween: Resurrection executes this idea as well as it can be. In fact, it has some strangely honest commentary on reality television. Dangertainment mocks up the entire Myers house with false clues about Michael’s upbringing because they know actual reality is boring. No one would watch a bunch of people wandering through an empty house. The head of the company, Freddie Harris, has to dress it up and create an illusion and sell it as reality so to make it entertaining. I like that the Freddie character does come around to denouncing that illusion and the using of Michael Myers as a sound bite to drive viewership up. It shows an effort on the part of the filmmakers to make something of the premise, which is indeed dated. Halloween: Resurrection might be far from the pinnacle of this franchise, but it’s far more consistent than the rushed mess of The Revenge of Michael Myers.
If you watched the trailer for this you might believe that Jamie Lee Curtis had a larger role in it than she really does. Her story is confined to the opening sequence at a psychiatric hospital where she has her final confrontation with Michael. A quick summation at the film’s start states that Michael Myers had switched outfits with a paramedic before the last film’s climax, and it was that poor soul with a crushed larynx that Laurie decapitated. What ensues in this opening sequence with Laurie and Michael puts the storyline to rest. I’m sure there are fans who did not like this at all, possibly as much as I hated the ending of H20, but taken on its own merits, it is a well done sequence that is to the point. Laurie doesn’t go out in a blaze of glory, but really, you shouldn’t set your expectations that high for this movie. It’s just not that ambitious.
I do really like the look of this sequel. It makes great use of atmospheric lighting. It has the polish of a major studio feature, but Rosenthal and his cinematographer just know how give it that shadowy, moody quality. True to the John Carpenter roots, there’s some very solid use of blues and fine steadicam work. The video camera footage of the internet broadcast is about what you’d expect in the pre-high definition digital era. We get more and more of it as the film progresses, and you could take it or leave it depending on your disposition towards it. It has some effectiveness in certain sparse moments for us to see things from the characters’ point of views, which is evocative of the found footage genre like The Blair Witch Project had already shown, but there’s nothing special to witness here in that regard.
The biggest highlight of this movie is that I absolutely LOVE the score by Danny Lux. I honestly believe it is the best score of the sequels. Lux adds a heavier punctuation to the familiar themes, and overall, he crafts a more haunting, partially gothic aura to the film. It’s a score that really soars far above the quality of the film it is attached to. Regardless of what you think of this movie, you should definitely give this score a standalone listen. It is immensely effective. Danny Lux does an amazing job with it.
Now, I don’t think this is a bad cast. For the most part, they do come off as fairly standard slasher film fodder, but this cast does seem like they are putting forth an honest effort. Each one tries to make their character enthusiastic, charismatic, and somewhat entertaining. There’s no real standout, but everyone essentially delivers a performance of a consistent, equal level. I wouldn’t say this new cast features anything approaching greatness, but it’s good for the expectations you would likely have.
Bianca Kajlich does well in making Sara a relatable and sympathetic lead. There’s very little to the character, same with everyone, but there’s enough of a decent, vulnerable person in her performance for it to work. She has this internet based relationship with the high school freshman Myles. Through that, they’ve built a foundation of trust and friendship, and it plays fairly well into the movie near the climax. Ryan Merriman is endearing as Myles. He’s definitely the audience’s conduit into having sympathy for the victims. He and his friends are at a Halloween party watching the online stream of the Myers house expedition, and witness the horror as it progresses with little to be able to do about it. Despite Myles and Sara being strictly internet pals, Merriman does a fine job creating an emotional connection between both characters. It’s almost a shame that the film never allows them to actually see each other face-to-face.
The role of Freddie Harris is indeed filled by Busta Rhymes. Clearly, he didn’t need to be in this movie, but I will give him credit that he doesn’t slack off. He portrays a role that’s within his ability as a charismatic salesman, but also does a fine job with the more fearful, regretful moments later in the film. We surely could have done without the Kung Fu fight against Michael, but at least the filmmakers did enough to set it up earlier on. In the fiery climax, he’s certainly played up for the sake of his fans, and it does feel rather out of place. You might as well have Arnold Schwarzenegger charge in there for as much as its played like an action hero moment. It would be essentially the same effect.
The role of The Shape is filled by Brad Loree who I feel does a decent job. It’s definitely Dick Warlock inspired, but not quite so rigid. His performance is simply okay. It doesn’t standout, the same as the rest of the cast, but it works fine for the demands of this film. Also, while he is listed as 6’2”, I think the baggy coveralls make him appear smaller in stature than he likely really is. The mask for his Michael Myers could have done with a little less airbrushing detail, but really, no sequel has really gotten the mask to look right compared to the original film. I’m not sure why that’s been so difficult.
The most important question, though, is if this film is scary. Well, it has the potential to be depending on how weathered of a horror fan you are. Rick Rosenthal really does a lot to set a strong visual atmosphere conducive to scaring an audience. There are plenty of spooky moments of Michael Myers lurking in the shadows, only seen in glimpses. It certainly has moments that could scare certain people, but generally speaking, it’s not going to do much for the seasoned horror fan. Especially ten years on, with the far more intense films we’ve gotten in this genre, regardless of your preference, Halloween: Resurrection is fairly tame. Even John Carpenter’s original is not really an effective horror film anymore to me, but I respect it immensely on every artistic level. It is, after all, the movie review of mine that launched Forever Cinematic in the first place.
The Halloween franchise is kind of a mess. There are a lot of subjective ups and downs depending on what storylines you enjoy. For me, I really liked where things were potentially going with the sixth film, The Curse of Michael Myers, mainly in its Producer’s Cut form, but so much tanked that potential resulting in Halloween: H20. I hated that film for killing the continuity and storyline that I loved, and intending to dispatch Michael Myers in an unimaginative, bullheaded fashion. This sequel ultimately feels like a weak whimper trying to extend the bankability of the franchise just a little further without enough ambition or unique talent to elevate it. It just tries to be a fun slasher flick, and if you take it as that, it’s fine. I can sit down and burn ninety minutes with it on a whim, but it’s entirely forgettable and dismissible. Aside from the potentially divisive opening with Laurie’s death, it really plays it safe with an either fun or lame premise. Essentially, you can take this film or leave it. If it’s on cable, and you’ve just time to kill, it’s a decent watch. I would like to give it a better recommendation, but knowing that there are a some far stronger films in this franchise, I can’t give it any further credit than this.
This has become a very well known version of Halloween 6 to fans over the years, most deeming it superior to the theatrical cut. It has never been officially released by Dimension Films, and can only be found in bootleg form on both VHS and DVD. Today, you can actually find the full cut freely on YouTube. Among other things, the altered ending is also due to the passing of Donald Pleasance following principal photography, but that was hardly the catalyst for the extent of these changes. As explained in the review of the theatrical version of this film, Halloween 6 was turned into a mess of a film in post-production following poor test screening reactions and severe creative differences between director Joe Chapelle and the film’s producers. Thus, this version of the film was dubbed “The Producers’ Cut.” Suffice it to say, there are distinct and dramatic differences between this version and the theatrical cut.
The setup and premise for the film remains basically the same as the official theatrical release, but this cut follows a slightly different chain of events. There are alternate death scenes with some happening later in the film, allowing characters to survive longer than in the theatrical version. One of those is that Jamie Lloyd is not killed by Michael, but rather, dies in the hospital later on by the hands of the Man in Black. This adds back scenes of Loomis and Wynn in the hospital that better explain how Tommy runs into Dr. Loomis there. Overall, the film gives more time to developing the relationship between Doctors Wynn and Loomis. Right from the start there is an extended introduction scene, and as the story goes along a different chain of events, there are more scenes of them together which build them into a stronger, more prominent part of the plot. More foreboding seeds are planted towards the rune of Thorn as well.
Music cues are also different in mostly eliminating the false scares throughout the film, and you will find no trace of wailing rock guitars anywhere. The score is more in the traditional Halloween style with a focus on atmosphere and tension. A definite difference from the start is Donald Pleasance doing the opening narration instead of Paul Rudd’s Tommy Doyle. We also get a flashback to a never used, never seen ending to Halloween 5 where Jamie, portrayed by Danielle Harris, is abducted by the Man in Black. Of course, where this version of this film departs from the theatrical version is more in the final act. I won’t go spoiling much, but everything after Tommy and Loomis are knocked unconscious is almost completely different. The film follows through on the occult aspects it establishes instead of the nonsensical genetic cloning swerve the theatrical outing offers. Several scenes throughout the final twenty minutes were re-shot with a heavily revised script, leading to the more ‘by-the-numbers’ ending we eventually got. The Producer’s Cut ending is less action-oriented, and more plot centric using the idea of the runes to cancel out Michael’s own power to allow for a potential escape for some.
I believe this version is a definite improvement over the theatrical cut. The film follows its own logic throughout whereas the theatrical cut veers off track, essentially disregarding the development of the story at the start of the final act. The Producer’s Cut retains a consistency and continuity within its own story, and with its predecessors. While it requires the story to delve further into bizarre territory, it seems more satisfactory. More importantly, it is all rather well explained through the course of the overall film. This is mainly done by Tommy, but in the final act, Terrence Wynn goes further in depth about the motives behind it all. The film doesn’t envelop itself in clichés or formulaic horror film scenarios building up to or during the film’s conclusion. It presents a climax and ending which respects the development of the story, serves the tone and themes appropriately. It also leaves a much clearer opening for a sequel with a definite storyline to follow down. Unfortunately, this storyline and its continuity were shelved and ignored by the makers of the subsequent sequels. While I would’ve liked to see such a proper continuation, I don’t believe it would’ve been successful. Any non-fans would be turned off and lost with such a continuation. This is merely by the fact of long-stretching mythology and continuity that newcomers would be unaware of. Of course, this would allow for even lower box office numbers. I’m sure the death of Donald Pleasance wouldn’t leave much confidence in the franchise’s future along this path, either.
I don’t see a real point in reviewing the acting since the quality of the performances don’t change from one cut to the other. Rarely, if at all, does an alternate take appear, and it’s more a fact of extended and additional scenes appearing throughout. Although, aspects of the editing should be addressed. Whereas the theatrical version is far gorier than previous Halloween films, this cut removes a good deal of the gratuitous bloodshed. This helps to put it back on track with the other Michael Myers outings, and much like with Alan Howarth’s score, keeps the horror focused more on atmosphere and suspense than on shock gore value. I believe both cuts of the film were done by the same editor, Randolph K. Bricker, and so, the quality of the editing is quite consistent between both versions. Of course, without a doubt, the story flows much better in this version. This is probably because there’s more story here to work with between various characters. Even the timeline alteration of Jamie’s death offers up a well-timed plot turn, and a slightly tighter pace about one-third of the way into the film. It also keeps the idea of the Man in Black alive where he’s barely present in the theatrical cut. Also, bare in mind, the Producer’s Cut was put together first. So, the theatrical version’s gratuitous gore was all added in later, but still, several small character moments were excised in the theatrical version. In regards to the Strode family turmoil, while they are nice touches, I don’t think either cut is exceptionally better or worse because of their presence or absence. Still, it helps to give an extra touch of depth to one or two characters.
I can honestly say that I do find more enjoyment in watching this version of the film, but watching a multi-generational bootleg copy, no matter what lengths skilled fans go to improve the experience, is not something I would do often. I really feel that if Dimension Films had any intention of releasing the Producer’s Cut officially on a properly mastered DVD or Blu-Ray release, they likely would have done it already. Still, it is an investment in time and money, and there’s no guarantee that they still have all the necessary elements to present the complete film. Sometimes, audio tracks or film elements are lost. Beyond that, who knows what condition the master print is in. I’m not saying these are absolute certainties, but there are numerous factors to take into consideration. Of course, if they don’t show the initiative, we’ll never know. Regardless, if you ever have the opportunity to view this version of the film, I believe it is worth your while if the more occult aspects of the story intrigue you. Like I said, it’s readily available on YouTube, for the time being, so it costs you nothing to give it a look.
The early-to-mid 1990s were generally not a good era for horror films. The slasher craze of the 80s was dead, and the few surviving franchises were really limping along, creatively and/or commercially. Now in the hands of Dimension Films, who had already begun tarnishing the Hellraiser franchise, Moustapha Akkad pushed forward with a sixth installment in the Halloween series. It would explore the origins of Michael Myers, and follow-up on the events in The Revenge of Michael Myers. It had good beginnings, but what could’ve been a very solid and satisfying film for certain fans, turned into a real mess with an obscured potential. It just goes to show that certain franchises shouldn’t be given to certain studios.
Following six years later, much has changed for our familiar characters. Dr. Sam Loomis (Donald Pleasance) has retired after suffering a stroke during his last encounter with Michael Myers. Almost everyone believes that Jamie Lloyd and Myers died that night. Although, it is October 30th, 1995, and things are about to change further. In actuality, Michael survived, and Jamie (J.C. Brandy) has been held captive by the Man in Black and his cohorts all this time. Jamie has since been impregnated, and is now mother to a newborn baby boy. In an escape attempt, Michael pursues her relentlessly. Meanwhile, shock jock Barry Simms (Leo Geter) holds a radio broadcast about the return of Halloween to Haddonfield, and one of his callers is a panicked Jamie Lloyd, calling out for help. Among those listening are Tommy Doyle (Paul Stephen Rudd) as well as old friends Dr. Loomis and Dr. Terrence Wynn (Mitch Ryan). Of course, it is not long before Michael claims his niece’s life in quite a gory fashion. While the child is lost to The Shape, Tommy soon tracks the baby boy down, and chooses to protect him. Loomis & Wynn soon join the hunt for Myers, but ulterior motives loom in the shadows for some. Meanwhile, relatives of Laurie Strode – including Kara (Marianne Hagan) and her young son Danny – now occupy the old Myers home, and are in danger of Michael’s boundless evil. Tommy, quite obsessed with the truth about Michael Myers, believes he has discovered the origin of his evil, but how this version of the film progresses, it eventually becomes irrelevant.
It is rather easy to see how this entry in the series failed to be a serious success. The main factor is that, after poor test screenings, Dimension Films ordered the third act to be re-shot and much of the film to be re-edited to be a much less intelligible story. However, the original version survives in the bootleg market as “The Producer’s Cut.” In this, the theatrical cut of the film, there’s much left to be desired regarding the plot. What begins as a supposed occult plot surrounding Michael eventually takes a sharp swerve towards some form of genetic cloning, and all things occult are bafflingly washed away. The film also goes for a lot of cheap, false scares which only degrade the quality of the film. Re-casting or dispatching with the character of Jamie Lloyd didn’t win any fans over either. However, Danielle Harris did not like the script, or what happened to Jamie in it. So, she passed, forcing the role to be given to another actress who did a fine job, but the re-casting does affect the impact of what does happen to Jamie here.
What I do enjoy a great deal about this film is what many don’t like – the entire Thorn / occult plotline. Many despise it, but it’s much the same as I like Jason Goes To Hell. It offers up a better explanation than just “he’s evil.” Evil alone doesn’t make you immortal and impervious to injury or pain. There has to be a reason, and after a while, you need to add something more to the stalk and slash formula to keep it interesting. Whether it succeeds or fails depends on how well the explanation is integrated into the established mythos. For me, I think screenwriter Daniel Farrands did a very exceptional job tying all the little bits and pieces scattered throughout the films into a credible storyline. While the entire Thorn mark on Michael in Halloween 5 was purely random, trying to give Moustapha Akkad some thread to continue with into the next sequel, I find it is quite a valid revelation. Like it or not, John Carpenter did set this up, partially, years ago. When filming additional scenes for the network television broadcast of the original Halloween, he introduced the plot twist that Laurie was Michael’s sister. He also introduced the idea of Michael being linked to Samhain in his and Debra Hill’s script for Halloween II. Despite which belief system you categorize it under, Samhain is directly linked with an array of paranormal and supernatural events and rituals. All of which involving the relationship between the living and the dead. Therefore, while none of this origin came from a singular stream of consciousness, it all eventually fit together with perfect logic. If for nothing else, in my honest opinion, it’s a better and more creative origin for Michael Myers than what trash Rob Zombie tried to feed us. I don’t believe in making evil incarnate a sympathetic figure. You shouldn’t feel sorry for evil, but you should respect its power and legacy. The one person who survives throughout these films is the one who respects and never underestimates the evil that is The Shape, namely Dr. Loomis.
The film has a solid setup giving us plenty of mysterious and haunting elements that create suspense. Having the Man in Black haunting Danny Strode was handled nicely, and created a driving plot element which passionately involved Kara Strode. She’s not being randomly stalked. She is fighting for the safety of her son, and thus, naturally forms an allegiance with Tommy Doyle. Bringing back a character from the original film, and developing him down this path is something I’ve always strongly enjoyed. He could’ve been the Halloween franchise’s allegory to Tommy Jarvis from the Friday The 13th films – a young protagonist who has dedicated himself to understand the evil that once stalked him, and seeks to destroy it, once and for all. Doyle is very smartly handled in this story giving the character enough weight to bring credibility to everything he says. Just as how Dr. Loomis could come off as very preposterous if wrongly cast, the same goes for Tommy Doyle. Where Loomis has always brought a dreadful urgency to the plot, Tommy brings a scary vibe of mystique as he explains the truth of Michael Myers. The addition of Dr. Terrence Wynn mixes both of those into a heavy, frightening threat, regardless of which cut of the film you view.
While all the Strode family drama was quite unnecessary, it at least has some bearing on the story and the characters. It creates enough emotional turmoil for Kara which makes her more vulnerable and emotionally open for an audience to connect with. However, on the down side, I definitely get that John Strode is not meant to be likeable in the least, but he actually comes off as far too stereotypical, dumb, and tiresome. He’s a dull thud of a character that I just wanted to be rid of, and if the film spent less time with him, I would have been perfectly all right with that. That is really the only character which fell flat for me. Actor Bradford English just didn’t seem like a very solid fit for this role, and does little with it for anyone to take him very seriously. He comes off like a bull-headed buffoon. Even the crass shock jock character of Barry Simms is vehemently unlikeable, but he’s supposed to be, and Leo Geter hit the role perfectly on the mark.
Now, what further drives this away from the tone of a Halloween film is the excessive gore. The splatter level here is more akin to that of a Friday The 13th film. The Halloween films have, generally, been more focused on atmospheric horror than shock gore. I can only fault director Joe Chapelle for a good measure of this. He was the one Dimension Films called on to re-shoot sequences for Hellraiser: Bloodline. Thus, essentially butchering everything that film had left going for it after the Weinstein’s kicked Clive Barker and original director Kevin Yahger off the project. He’s clearly not a filmmaker who strives to fight for his vision or establish his own identity. He does what the studio wants him to do, even if it means butchering his own film or someone else’s. Chapelle also perceived Donald Pleasance’s performance as “boring,” and cutout several of his scene from the film, further showing Joe Chapelle’s lack of sense for good talent. Clearly, there was a good movie under all these re-shoots and re-edits that Chapelle deserves some credit for, but he really loses a lot of that credit and respect due to his track record with this film and others.
Fortunately, the acting rises far above anything that might be lacking in the director’s chair. Donald Pleasance, as always, delivers what had always kept this film series so unique. He provides a dramatic and emotional weight which brings an honest credibility to the film, despite what strange turns it might take. Paul Rudd and Marianne Hagan bring equally real and solid performances. Rudd fashioned a definite eerie quality for Tommy making it quite apparent that he’s had a weird time of it since Halloween, 1978. I always find myself especially intrigued by his character, hoping that a subsequent film would follow him in more depth, but that really became a dashed hope. Beyond just the change of direction in the franchise, Paul Rudd emphatically made it known he’d never work with these filmmakers again. He signed onto what was supposed to be a high caliber suspense film, but the studio ultimately decided to take the low road. That being said, aside from my previous comments, there’s hardly a weak link amongst the cast. Mitch Ryan was a welcomed addition adding some extra strength and stability. He does an immensely effective job in his plot twisting role as Terrence Wynn.
Lastly, George P. Wilbur returns as The Shape. He previously took on the role for Halloween 4. The performances are about the same, but he gets to do more walking here. You see more of his movement, but it doesn’t have that natural fluidity that Nick Castle had in the first film. It seems everyone who portrays Myers always tried to emulate the robotic and rigid performance of Dick Warlock. I cannot explain this approach as I believe Castle’s more natural movement made Michael seem more eerily human, and in a way, more frightening and relentless. He seemed to move with more purpose, more determination, and thus, showed he was more motivated.
Alan Howarth, a frequent collaborator of John Carpenter’s, and the man responsible for the scores of Halloween 4 & 5 returned here. He takes things in a different direction this time out. This is a much heavier score with the synthesizers regularly slamming into the soundtrack with a more overbearing presence, at times. The familiar themes of the series have a more atmospheric or polished synth sound, which I do enjoy. It gives this film more self-identity that works, but there are undesirable elements of this score. The music in the climax is overwhelming with shredding electric guitars in a very 80s pop-metal style. It’s like a second rate Eddie Van Halen wannabe took over the scoring job on the film and did a terrible job at it. This is not scary or suspenseful. It’s just obnoxious Now, this is something exclusive to this cut of the film. It was another decision made by people less interested in creating a coherent and effective horror film, and more interested in just making whatever’s going to give them one extra dumb dollar – even if only makes the film worse.
Thankfully, the film is shot very well, in most part. The cinematography has a serious approach with focus on dramatic weight and eerie atmosphere. The lighting creates some uneasy moodiness. The bleak visuals create a sense of foreboding and unease. You get the feeling all the way through that this is a film that is taking itself seriously with intense, unrelenting horror, and a storyline that’s supposed to have dire consequences. I really love how the film was shot. It takes the blue tones of the first and fourth films, and adds an extra layer of depth and grit to enhance the more grim tone of this film. I give much praise to cinematographer Billy Dickson on this production.
Generally, I feel this version of the film is less fascinating than its bootlegged counterpart. Based on its own merits, the film boils down to a mindless slasher with a messed up plot progression which ultimately negates itself. While it does have strong acting and solid production values, the studio heads botched it all up to cater to stupid fourteen year olds who wouldn’t end up being able to see the film in theatres anyway. The whole film seems meant to build up towards answers and revelations regarding the origin of Michael’s evil. Sadly, it’s all thrown out to introduce a new ending which makes no sense, and doesn’t bother to explain itself. I’m not one who demands that all mysteries be solved, and all questions be answered thoroughly and definitively in a film, but things need to make some degree of coherent sense. Simply said, the fact remains that this ending does not fit to this story. It washes away all plot points and hints at answers the film establishes, and introduces brand new ones which come to no light. It’s a cliché, shallow, and hollow conclusion to a film which laid the seeds for so much more. Satisfaction, at least for me, does not come from this version of Halloween 6.
Another sequel, released approximately one year later. Clearly, it was a rushed production, and the pitfalls of that are blatantly obvious throughout this film. It’s not a pure failure, but the volume of problems and bad ideas are impossible to ignore. Director and co-writer Dominique Othenin-Girard is probably responsible for many of them. His résumé consists mostly of French films, but he was also responsible for the generally panned and dismissed Omen IV telemovie. The films’ other two screenwriters, Michael Jacobs and Shem Bitterman, have nothing else of note on their filmographies. If this film is any indication of their talent, it seems to make sense.
One year after the events of Halloween 4, things are not as expected. Jamie Lloyd (Danielle Harris) is merely locked up in a children’s psychiatric hospital, acting weird, but not homicidal in anyway. Michael Myers, ultimately, is still alive, and has been laying dormant in the company of a derelict by the river. With the coming of Halloween, he rises once again, and starts on his killing spree towards Jamie all over again. This time, Jamie has a psychic link with Michael, able to see what he sees, and generally know where he is. Of course, most everyone doesn’t believe her wild claims, believing she is indeed insane, and ultimately, allows for many more to die because of it. Dr. Loomis (Donald Pleasance), as usual, is there to head up the endless fight against The Shape. Meanwhile, a mysterious man in black makes his way into Haddonfield for unknown reasons as Michael maliciously slashes through the town.
I have to say, first off, that this film suffers mostly from an underdeveloped script due to the rushed production. Where Alan McElroy put together a rather intelligent script for Halloween 4, the three screenwriters on this film did everything possible to make it stupid and stunted. From the pair of lame, dumbass cops to the annoying character of Tina to most any other new characters, it’s a real chore to consider anyone likable here. Aside from the returning cast of Harris, Pleasance, Cornell, and Starr, the acting is rather poor and irritating at times. Don Shanks’ Shape doesn’t really stand out. There’s not much for him to really work with, and the mask he’s saddled with is terrible. Granted, it follows within the continuity that this film establishes, but the filmmakers weren’t forced to make it dirty and ugly. Part of the symbolism of the mask is to reflect a blank, emotionless visage of the killer, and scuffing it up takes away that stark, striking visual.
The direction that Othenin-Girard takes the film is very visually gothic. Everything appears grittier, dirtier, and more grim. Although, the most horrendous and objectionable change is that of the Myers’ house – which bares zero resemblance to any other Myers’ house throughout the series, before or after. Obviously, continuity wasn’t a real concern for Dominique. I will give him credit where the film’s tension and suspense is concerned. He handles it very well, and creates many scary sequences throughout various parts of the movie. It’s simply the harsh and drastic departure of visual style and art direction that detract from its quality in the overall series. The entire film has a far more cryptic than atmospheric style compared to the rest of the franchise. This doesn’t tend to go over well with the fans, and considering the film’s other stated flaws, it’s stance within the franchise is quite expected.
Halloween 5 also planted the seeds for what became Halloween: The Curse of Michael Myers with the mysterious Man in Black. However, as another example of a rushed production and poor screenwriting, even the screenwriters themselves didn’t know who the hell he was supposed to be. They just decided to throw in some ambiguous character with no idea of what to ultimately do with him. That’s sloppy work to pawn off onto another screenwriter who would work on the next sequel. I’m sure that’s something screenwriters of sequels hate – cleaning up the undeveloped or unresolved garbage left over by the last screenwriter. At least the Friday The 13th and A Nightmare On Elm Street movies had the courtesy to kill their respective slashers off at the end of every movie allowing for a generally clean slate for the next movie. In Halloween 5, the Man in Black was partly portrayed by Don Shanks at the thought that the character might be a blood relative of Michael’s, possibly a brother. Obviously, any intentions these filmmakers might’ve had about the Man in Black’s identity were irrelevant by the time of the sixth film’s production. During this production, tensions and conflicts were abound. Pleasance and Akkad disagreed with each other, and they both disagreed with Othenin-Girard about the direction of the story, and the direction of the film. Not many were happy with the outcome, and it resulted in a rather uneven and terribly unpolished film.
This is a film that tries to be taken deathly seriously, but there’s just so much bad crap smeared all over it that it’s hard to take it seriously. While I would not speak ill of children with disabilities, they don’t make for good characters in horror films. They simply add to the irritating bevy of new characters we are subjected to. There are the aforementioned bumbling rejects from the Police Academy franchise who couldn’t be more out of place, and they are even given their own silly music theme to go along with their goofy antics. Then, the entire psychic link between Jamie and Michael comes off like something from a Z-grade rip-off of The Dead Zone. Maybe, and that’s a huge maybe, the idea could’ve worked in more talented hands, but the execution comes off as terrible. The entire time Dr. Loomis is shouting at and shaking Jamie like a total madman trying to force her to tell him where Michael is, and that alone is just bad on so many levels. Donald Pleasance does the best job he can with the written material, but there’s just too much incoherent madness for him to make much of it.
While this is meant to be a continuation of Halloween 4, it comes off more like a transitional film meant to segue from Halloween 4 into a different storyline altogether in the eventual Halloween 6. It never feels like a self-contained movie since it hardly resolves anything from the previous movie, and has no resolution to any new plot elements it introduces. I think more than its slasher juggernaut counterparts, the Halloween franchise has been the most mismanaged. There was too much cluttered continuity and mythology that almost every new screenwriter or filmmaker who came in tried to twisted around into a new direction, or simply disregard altogether on a whim. While Jason & Freddy have had their continuity inconsistencies, you rarely ever had someone come into either franchise trying to drastically alter the nature of the characters. The tone of the films might’ve changed, but what you knew of Krueger & Voorhees from the first film or two remained set in stone throughout the franchise. Their origins were plainly known, and anything that was added to them later on felt natural and logical. Not with Michael Myers. Every new film has tried to find a new rationale for the existence of the character whether or not it jibed with what came before. Moustapha Akkad never attempted to put the series on a set path of tone and story. That is very strange considering how thick Halloween 4-6 are with an overarching storyline that’s supposed to make sense, but is really just a fortunate cut and paste job assembled by three different sets of screenwriters. Halloween 5 raised a number of bizarre, ridiculous questions it never intended to answer, and while that’s surely not it’s worst attribute, it does degrade the artistic and creative potential of the film.
As I said, this is not a pure failure, but it’s a real mixed bag of problems. While it is enjoyable if you dumb yourself down and not care much about continuity, it’s far away from being one of the better films of the series. In contrast to Carpenter’s original, this is real schlock. On its own, it’s still schlock, but potentially enjoyable to some varying degree. Suffice it to say, this film could’ve stood from an extra year of development as well as a far more competent and talented director. This was a terrible drop-off from a rather respectable and enjoyable Halloween 4. It’s worth seeing, but not worth any good expectations.
Halloween 4 is probably the one sequel which most closely matches the original. I would attribute this to a few factors. The most significant, maybe, is that it was before each new film tried to introduce some new twist to the story. Some new element to either explain The Shape, or just utilize a gimmick to sell the film as something supposedly worth seeing. It stays closer to the spirit of John Carpenter’s original film, focusing on a simple stalk-and-slash idea coupled with relatable characters.
The film picks up ten years after the events of the first and second film. Despite developments in later, contradictory sequels, Jamie Lee Curtis’ character of Laurie Strode died in a car accident, leaving behind a daughter – Jamie Lloyd (Danielle Harris). She is taken in by another family, and raised alongside their older daughter Rachel Caruthers (Ellie Cornell). Meanwhile, Michael Myers (George P. Wilbur) has been in a comatose state, and Dr. Sam Loomis (Donald Pleasance) remains persistent in his belief that Myers is indeed evil incarnate. As Halloween approaches, The Shape stays dormant no longer, and Loomis must take chase of him before he claims new victims. It is clear to the obsessed doctor that Jamie is to be his ultimate target, but it will be a Halloween night caked in blood before the horror is over.
After the fallout from the unsuccessful Halloween III, Moustapha Akkad wanted to bring back Michael Myers to revitalize the franchise. After all, it was essentially his only meal ticket. Akkad only produced five other (unsuccessful) films outside of this franchise in his 75 year life. Thankfully, this was a solid sequel. Nothing that tried to shake up the idea of the franchise, just inject new life into it, and be as faithful to the style and vibe of the original. Dwight H. Little directs, and does a fine job at it. It’s very difficult to rival Carpenter’s film, but Halloween 4 doesn’t try to be superior. It only tries to be a respectful continuation, and it does succeed. Little focuses more on atmosphere and suspense than gore. While there is a decent amount of it, it’s not obscene. It’s enough to give the film the needed deadly horror aspect, but stays away from being a splatter fest. There’s a constant tension through the main meat of the film with little tinges here and there to keep the momentum going. This allows the film to flow at a decent pace; not allowing it to grind to a halt anywhere, or get wound up too soon. Dwight Little’s name has regularly appeared as a director on television series like Bones, Castle, Prison Break, and Dollhouse. I’m always glad to see that his talent has taken him far with a steady career.
Alan Howarth’s score also helps to keep a strong connection with the first film. The themes are slightly rearranged, but are more similar to those of the first film than the overly-synthesizer themes of Halloween II. For me, that is a welcomed return to form.
The cast and acting of The Return of Michael Myers is indeed solid. Everyone holds their own weight, and convey a realistic array of emotions. The young Danielle Harris really stands out. Where a lot of young actors tend to come off as annoying or phony, she showcases such wonderful innocence and vulnerability. An audience can’t help but truly feel for her all the way through. Danielle has gained a long, successful, and seasoned career birthed from this performance. She’s helped along quite a bit by Ellie Cornell who is very likeable as the loving big sister, but also proves to have a lot of strength. As Rachel, she doesn’t take anything lying down when she discovers her supposed boyfriend messing around with another girl. As the film progresses, she’s put right into the thick of the harrowing danger with Jamie. She maintains better courage under fire than Laurie did in the first two films, and certainly wins over the heart of the audience being Jamie’s sisterly protector.
Donald Pleasance, as always, is excellent. He continued to bring a real credibility and dramatic weight to the series. Some actors, if delivering a lot of the dialogue he had to, might come off as inauthentic or laughable. With Pleasance, he had the talent to make you believe every word. He gave it all the urgency and consequence of the grave. The emotion in his eyes, the fear and the pain, transcend through the screen, and hit you deep within. Where in the first film it was a weary doctor uncertain what Myers was entirely capable of, Loomis is now a man afraid of reliving the nightmare. He has seen the carnage before, and is intensely adamant about preventing it this time. With this in mind, Pleasance delivers a much less reserved Loomis. He hasn’t time for reason or diplomatic talk. Evil incarnate is loose in Haddonfield, and he needs people to take immediate action.
Beau Starr takes up the mantle of Sheriff of Haddonfield as Ben Meeker, and has a much more assertive and take charge personality than Leigh Brackett did. Starr makes Sheriff Meeker a fine counterbalance to Loomis’ almost unhinged psychology. He shows authority and urgency while remaining focused and calm. And while I stand firm in that Nick Castle was the best Myers, George Wilbur does an admirable job, but he doesn’t get much chance to show his movement. He tends to more just appear out of nowhere, figuratively, than stalk people over long distances. However, he does seem less stiff than Dick Warlock’s interpretation (which I’m not very fond of as I prefer a more fluid Shape). The rest of the cast, as I said, hold their own very well. They create a solid and realistic community of characters that you don’t second guess their authenticity. This is also due to Alan McElroy’s solid screenplay – writing intelligent characters with depth who don’t fall into the slasher film formula. They make the choices that any one of us would in those situations. When you would run away, they run away. They don’t make stupid decisions or take foolish courses of action. They may act, sometimes, out of desperation making not the best choices, but there is a realistic motive behind them. Amazingly, McElroy wrote this script in eleven days, just before the writer’s strike of 1987 began. Take it from me, a screenwriter myself, that’s not easy to do.
Again, I feel this is a very worthwhile sequel. It does more to honor John Carpenter’s original film than any other sequel (or remake) in the franchise. It retains a similar look and cinematography, despite the 1.85:1 aspect ratio, and really stays true to Carpenter’s story and form of suspense. It cannot rival that 1978 masterpiece, but Halloween 4 respectably holds its own. While John might not agree considering his feelings on the franchise, from a fan’s point of view, I feel it is respectful. After this, the films began to become either more bizarre, watered down, or just plain cheesy. Overall, I believe this entry in the series is about as appropriate and proper as you could get. I’ve never cared for Halloween II, feeling it suffered from seemingly lower production values, a badly reworked score, thinner characters, and less-than-inspiring direction. So, with that mindset, Halloween 4 comes off as the better sequel, and the one I would’ve bettered expected to follow the 1978 film. It’s not as intensely haunting or fascinating as John Carpenter’s Halloween, and quite as brilliantly shot (a 2.35:1 aspect ratio for this movie may have changed that sentiment more), but I believe it was more of a step in the right direction than anything before or after it.
To say that the Halloween film franchise has been a very mixed bag with very debatable highs and lows would be putting it mildly. Probably the blackest sheep of the family is Halloween III: Season of the Witch. After burning Michael Myers alive in the second film, John Carpenter decided to take the franchise into an anthology format. Each new entry would be generally unrelated to one another except for sharing a Halloween theme. It failed, dismally. Does that mean the film is particularly bad? Well, that’s complicated. The non-sequel was panned by critics and fans alike, and there is true reason to that. In recent times, it has gained more respect apart from its franchise ties. However, before I go further, let’s layout the plot first.
Dr. Daniel Challis (Tom Atkins) is a physician at a northern California hospital. One October night, a man named Harry Cambridge is carted into the emergency room in hysterics. Grasping a Silver Shamrock Halloween mask and screaming “They’re going to kill us all”. Naturally, he seems to have lost his sanity, but when Harry is murdered in his hospital bed later that night by a mysterious man (Dick Warlock) who shortly thereafter enters into a car & blows himself sky high, Dr. Challis becomes very curious as to Harry’s claims. His interest is furthered when Harry’s daughter, Ellie, tells Challis what drove her father into hysterics. Harry Cambridge was investigating the origins of the Silver Shamrock masks, and to why no orders were being taken for the following year. Daniel & Ellie trek to Santa Mira (the home of the Silver Shamrock Company) to find the answers they seek. They are horrified when they discover that the company owner, Conal Cochrane (Dan O’Herlihy), has implanted microchips, partially made from mysterious Stonehenge rocks, into the masks, and when the Silver Shamrock commercial plays with its special jingle, it will kill countless numbers of children across the country in a horrific manner. As the night goes on, time draws short, and Daniel Challis must attempt to thwart Cochrane’s evil, sinister, dreadful plan. Through relentless android assassins (who all look like Dick Warlock), a treacherous factory, and more, Dr. Challis desperately races against time to stop this living nightmare from happening.
This film is good, but not great. It has a tense and suspenseful story that plays out with some shocking visuals and lots of android gore (they ooze yellow fluid). It’s sort of clever that the film still maintains the opening shot of the jack-o-lantern, but as a video graphic, thus, supporting the film’s technology motif. The film starts off with a suspenseful and mysterious chase sequence which sets up an eerie tone for the film. However, while there are several strong moments of horror and unsettling atmosphere, they feel very far between with little going on in the meantime to maintain a driving plot.
While the score is very identifiable as a John Carpenter / Alan Howarth creation, I think its main shortcoming is a lack of an iconic theme. The music is either a pulsating, rhythmic vibe or just eerie underscore to enhance the danger and creep factor. When the original Halloween is playing late in the film on a television set, the music from that film more than overshadows the original music for this film. Still, this is certainly far from being a bad score. It’s perfectly creepy and ominous from two master composers, but knowing the other work they have done, it seems a little lacking in creativity. The incessant repeat usage of the Silver Shamrock jingle surely becomes irritating very quickly, adding another negative mark against the film.
Director Tommy Lee Wallace doesn’t have the artist strength of John Carpenter, and while the cinematography of Dean Cundey goes a long way to boosting the visual quality of the film, there’s still a definite fall-off in suspenseful innovation. Furthermore, several of the sets and props seem budget-starved. and the $2.5 million budget re-inforces that statement. The lesser grade production values really damage the film’s potential for being taken seriously. If the film had double that budget, perhaps such things would’ve looked better, but it wouldn’t have saved the film. There are simply far more fundamental problems with Halloween III that could’ve been salvaged with the right person at the helm. Thankfully, the special make-up effects are of an excellent gory quality.
Now, Tom Atkins puts in a strong, well-rounded performance here. He shows the desperation of Challis well, and even more so, the intense fear at the film’s finale. It’s a good performance as this womanizing doctor, but at times, you may feel as if he is is out-of-place. Atkins is a big, tall guy, and having him play a less than physically capable man comes off as awkward on screen. He easily does well with what he’s given, but there’s not much of a character on the page for him to appear unique or compelling. Challis doesn’t have a particularly distinctive personality to really distinguish him strongly enough in the story. This is pretty common with every character.
For instance, Dan O’Herlihy does a decent job as the insidious and sadistic Cochrane, but it’s not a great performance. Granted, he’s convincingly evil, but barely more than that. We are given a preview of Cochrane’s intended fate for the youth of the country, and it is truly shocking and horrifying. Unfortunately, that alone doesn’t amplify the character of Cochrane. I feel he needed to be more devilish, more demonic, more purely evil, but O’Herlihy’s performance does not reflect that. His motives are horrific, but the man himself acts exceptionally casual. He exudes very little emotion beyond a slight foreboding tone when he explains his motives and intention to Dr. Challis. Cochrane shows no anger, no contempt, no vindictiveness. Considering his motives, one would expect a more driven, more passionately evil character to come through on screen. A casual evil can entirely work, but it needs more under the surface to make it truly disturbing. One part of it is the script, but the other is the direction. O’Herlihy might’ve been capable of more, but Wallace does nothing to motivate a stronger performance. Basically, there’s no true depth to the performances. You can look back at the wonderfully subtle work of Donald Pleasance in John Carpenter’s 1978 film to see what dramatic depth truly is, and how a great actor can inhabit a role well with the aid of a talented director.
I personally feel that this movie had potential, and if someone were to be bold enough to revamp it into a modern day production, I think it could meet that potential. These days, one never knows what Hollywood will want to pillage next. The premise of mixing mystical forces with a science fiction tinge sounds great to me, but it wouldn’t be an entirely new. I simply believe that, with a proper budget in the hands of a talented director and an updated script, Season of the Witch could be an exponentially better film. As it is, we’ve got a low budget B grade horror film with a fading stain of spite.
So, in the end, we are left with an intensely fearful cliffhanger as Challis screams at the television station over the phone to shut off the final commercial. It’s a thrilling and suspenseful finale, and it should stick with you for sometime. As I said at the start, we have a mixed bag. The story worked, and the film had it’s frightening and thrilling moments. However, the production faltered. Tommy Lee Wallace isn’t a real visionary director, and the score was truly sub par for both Carpenter & Howarth (latter of which would do great scores for the next three Halloween films). There are a couple of films I like just based on their potential despite the film not realizing that potential. I believe this is one of them. I can enjoy certain elements of it, but Halloween III: Season of the Witch just doesn’t captivate me all the way. In the least, I suggest checking it out just so you can make your opinion of it instead of blindly buying into the scorn of decades past.
You know, the term ‘classic film’ is thrown around a hell of a lot. There’s a great deal of times where it is simply not justified. People jumping the gun the second a film is released, and saying it’s one of the all time greats. Let’s see how it endures after 10, 20, or even 30 years. Directors also get this treatment. For example, Rob Zombie. The man, in my brutally honest opinion, has yet to make a decently watchable film, but so many people hail him as some messiah because he makes dirty, ugly films. It takes more than simple visual style to make you a good, let alone great director. So, if you ask me who my favorite genre director is, who I feel has had the best run of things with the most diverse body of work? I would say John Carpenter. The Thing, Prince of Darkness, Big Trouble in Little China, They Live, In The Mouth of Madness, Vampires, Escape From New York…. all favorite films of mine. He demonstrates a brilliance in everything he does – writing, directing, producing, and music composition. When it comes to Halloween, there’s nothing quite like it. Every other slasher film in the world goes straight for the gore. After the years and decades have passed, filmmakers seem to have lost sight of what is truly scary in horror. It’s not shock gore, cheap jump scares, or splatter films with ten thousand gallons of blood. Taking the time to adequately build up an atmosphere of tension and suspense seems to become a dying art among the mainstream horror filmmakers. I’m not going to turn this into a comparison to other films, I’m going to tell you exactly why this film has remained a justifiable and certified classic for over 30 years.
If you aren’t familiar with the film’s plot, I’ll give you a lean and mean version. Michael Myers, fifteen years ago, murdered his sister on Halloween night. Afterwards, he was put into a psychiatric sanitarium, overseen by Dr. Sam Loomis (Donald Pleasance), but on October 30th, 1978, he escapes back to his hometown of Haddonfield. Come Halloween, he is stalking a group of teenage girls for reasons unknown. Among these is Laurie Strode (Jamie Lee Curtis), a sweet, caring, and decent girl. Loomis himself is in pursuit, fearing for what might indeed happen with Michael loose. After fifteen years of treating the young man, Loomis is convinced he is purely and simply evil. Someone without conscience, compassion, humanity, or any grasp of good or bad, right or wrong. In clinical terms, a sociopath. Donning a pale white mask of blank expression, Michael proceeds to methodically kill people throughout Halloween night. Can the evil be stopped before too long?
You talk about film direction? This should be shown to every aspiring filmmaker. Even if they are not interested in the horror genre, this film gets everything right. Music, cinematography, staging, acting, tone, pacing, editing….the list goes on. Certainly the most impressive and crucial technical element is Dean Cundey’s high caliber artistry as the film’s Director of Photography. Before Halloween, I don’t think any film had been shot in this fashion. The beautiful, genius composition is the main element which crafts the horror so effectively. You could take a still from about every scene, and you’d have something special and effective. The composition creates striking images that serve the tension and terror. How Michael seems to materialize out of the darkness just before slashing Laurie around the 76 minute mark is beyond known words to describe that brilliance. Don’t forget all the steadicam work. Very impressive for a film of this scale, and it adds so much to the production values. Even these days, the lower cost ones will cost you around two grand, and back in ’77, they were brand new technology. How shots glide from one place to the next, in and out of rooms, panning ever so smoothly around the action – it is masterful. Where now, everyone’s gotta shake the camera so much, it makes you puke, it is a breath of fresh air to see filmmakers shooting a film like this. Slow reveals, shots pushing in, pulling out, and oh lord….the gorgeous lighting. Lighting creates atmosphere. Subtle fills and key light. Patterns across the walls and ceilings. It helps to direct the eye, and envelope you within a certain mood. Dean Cundey is a masterful cinematographer, and continues to showcase his artistry to this day. He would also work on Carpenter’s The Fog, Escape From New York, The Thing, & Big Trouble in Little China.
While most might not take conscious note of Cundey’s work, everyone knows the value of Carpenter’s score. His themes have become legendary and iconic. No other film in the entire franchise has a score this prominent or effective. It drives so much of the film, creating a taut, nerve-racking strain of suspense. There is one theme that I call the “Stalking Theme” because that’s when you hear it. Michael begins to stalk Laurie through the Wallace house, across the street, and all throughout the Doyle home. This is a relentless theme which accurately and powerfully reflects the intentions of The Shape. I continue to firmly stand by my belief that Nick Castle was the absolute best Michael Myers. While the direction and camera work make the Shape truly effective, making Myers appear to move like a ghost – appearing and disappearing in a heartbeat – I want to specifically address Castle’s performance. Where later Michaels were more thoroughly rigid and mechanical in their movements, Castle brought a fluidity to The Shape. He moves like a man, reacts like a man, but has a quality which is simply unsettling. He’s creepy. He feels like a realistic homicidal maniac, but with a clear, calculating intelligence allowing him to stalk and kill at the most opportunistic moment. He’s not just running around like a nutcase, screaming and wildly slashing up people. He’s conscious of his actions, and acts deliberately. In addition, Castle injects a violent intensity to the role. He is relentless, and continues to come back with increased violent ferocity. It can tend to seem like he needs to kill Laurie, that he is compelled to make sure she dies. Compare how he strangles Laurie at the end to any other time Michael chokes someone later in the franchise. In those later instances, it’s very cold and empty. Here, there’s an apparent rage that cannot be satiated. Some twisted, unwavering obsession at work, it would seem. Michael actively and endlessly pursues Laurie. He is the living embodiment of death. He is inevitable and unstoppable. And yes, this specific mask adds so much that subsequent ones lack – it has very human features, but clearly, they are fabricated. He appears to have human features, but what he appears to be is not what he really is.
Speaking of performances, you would be hard pressed to find a substandard one here. Everyone fits their role just right, slipping into it like a finely crafted glove. Jamie Lee’s acting really shows what she was at the time – fresh, young, and eager. I would take her performance in this film over what she offered in Halloween H20. She showed genuine vulnerability, compassion, and emotional innocence here. The performances throughout this film just feel authentic, believable, and tangible. No one feels out of place or over the top. Everything is very grounded and honest. Charles Cyphers holds his ground as Sheriff Leigh Brackett, offering up a very real perspective against Dr. Loomis’ “fancy talk” about pure evil. You could see any small town Sheriff thinking and saying the same thing in reaction to such claims. All of the ladies really bring energy and life to their roles. The youthful enthusiasm, again, feels purely authentic. Makes a lot of the “teenage” performances of today seem flat and cliché.
As I say in reviews for the sequels, Donald Pleasence is the glue that binds the film together, and provides it with a weight and urgency it needs. His performance in this first film is more low key than his incensed sequel appearances. You can see Loomis’ fear surfacing as he speaks about his escaped patient. Michael frightens him down to his core, and it is his own fear which motivates him. He knows the hollow, emotionless, indifferent monster that Myers is, and cannot bare the thought of what will happen now that he’s loose. I believe, in the sequels, it drives him rather mad. His obsession is enhanced by the volume of bloodshed spilled by Michael, and is why he becomes so deadset and crazed later on. Pleasance demonstrates a real brilliance in this role. The dread and fear in his voice gives every last one of his words credibility which is so crucial to building up Michael to being more than just a mentally ill murderer. He is the boogeyman, a presence, an indomitable, elemental force that cannot be reasoned with or destroyed. The final look that Loomis gives, which came from Donald’s own brilliance, conveys to the audience, “I knew this would happen.” It does not shock him, only frighten him further. What he has believed all these years has been proven true – you cannot kill pure evil.
It is refreshing to watch the original film after weeding through the sequels. John Carpenter’s Halloween is like a revelation, and reminds me how none of the sequels measure up. It was never simply one element that made this film so great – it was every element. The cinematography is worthy of awards alongside the direction and music. The acting is, mostly, understated and firmly based in reality. Characters like Loomis and Brackett keeping cool heads instead of either going way off the deep end, or being complete buffoons. This film is an undeniable and justifiable classic. I can’t say it’s the most frightening film I’ve ever seen, that honor goes to The Exorcist (which I still can’t pull myself to watch again), but this film will keep you rattled and unnerved to significant degrees. While, I’m sure, there are minor technical gaffes here and there, it’s nothing that you will pick up in a casual viewing. No film is perfect in all aspects, absolutely, but what this is, is an excellent piece of cinema that should continue to endure for all time. There is no reason not to give this a full ten out of ten rating.