Dear Michael,
I've been your adventures for 20 years. I remember our first meeting at the detour of the horror ray of the video club. I had praised Carpenter's film, you know the one that tells about your first exploits! The VHS band was so worn out that the trembling image was constellated with parasites and burns, so that a syncope could be given to the MaG Celeste Wolf. I remember that at the time you spent a lot of time off-site hiding in groves, behind a tree trunk or even in a wardrobe, between coats and scarves. What were you scaring me?
The times I knew you were there somewhere in the house but not the character on the screen. That's what scared me, having information as a spectator that your unfortunate victims didn't have. You were so discreet, the ambush king and few were able to survive your encounter. But let's stop resuscitating the past... Halloween Kills, directed by David Gordon Green, the man at the helm of this new trilogy which relates an alternative arch in which only coming-out of 1978 would have happened. Michael, we need to talk.
''Let it burn!''
Halloween (2018) proposed a daring idea: to table all the papers following the Halloween original 1978 and camp the action 40 years later. This little pass trick has a name: the retroactive continuity. We were presented with a Survivorial and Paranoid Laurie Strode (Jamie Lee Curtis), still deeply traumatized by this night of terror. Now grandmother, she had prepared herself all these years for a possible return of the croquemitaine, training in the handling of firearms and going as far as to trap her own home, a sort of very stunning castle. Obviously Michael ended up escaping from the asylum, diving Laurie but also the last two generations Strode into the nightmare. We took pleasure in following these determined heroines and this suite/reboot was nice even if clearly the narrative potential was wasted. Halloween Kills This is the direct follow-up.
Let's not go four ways: this continuation of history is mediocre. If the first 20 minutes lead to some potential, the bellows quickly fall. The fault especially to a casting characters with absolutely incoherent behaviors. Be careful I'm not talking about the classic « Don't go there! » that any amateur of slasher Could yell to the attention of a powerful victim who chose to go down to the cellar alone. No, I'm talking about the higher level. The one where the reactions of the protagonists make no sense, as if they did not have an ounce of survival instinct. At this point we could almost talk about suicidal tendencies. The kind to lock up voluntarily with the murderer to settle his account or throw himself on him with a baseball bat when everyone knows that he is not human. Never remembered I had seen such incongruous choices, such a deep stupidity on the part of these poor energists, finally just there to serve as stage fuel « shock ». Expect to see Michael Myers unzing these meat bags, sometimes squarely chained way beat, special mention at this implausible moment when 20 people fall on him to ultimately get all massacred one by one. I am also thinking of this ridiculous passage in the hospital where a crowd of rednecks wrongly chases a mentally disabled person by believing that he is chasing the killer to lynch him. All get into it, hit each other, jostling like a Capitol Pro-Trump before realizing after the bull has committed suicide that « Michael Myers makes us animals and makes us bad ». Oh, yes anyway.
"Death has come to your little town, Sheriff."
Let's keep in silence the final scene and its saugrenuous outcome that falls like a hair on the soup. Halloween Kills is a little ungrateful child of this new modern trilogy and one feels that the director in custody under the elbow for the ultimate Halloween Ends planned for autumn 2022. In the meantime, we find ourselves confronted with a horror movie that displeases us more than it upsets us. Besides, we hardly see Jamie Lee Curtis. Without it, and therefore without the question of its inner demons, we do not really know what the global point is. Oh yes Halloween kills. It'll get you for your money, the hemoglobin flows blackish waves and the murders are very violent. But how can you feel any empathy for these empty shells? It is also difficult to understand David Gordon's choice to bring back so many former roles of Halloween (1978) in mode « Look at the fans you recognize her it was the nurse who had five lines to recite in the original! That's a good reference, huh? » for most of them to get rid of in pre-played games. The slasher always had a regressive side assumed but there we touch the bottom of the bullshit.
[We will still notice an owl generic introduction with pumpkins that ignite and a successful realization in the absence of something interesting to present. ]
P.S.
Michael, as you could read above I only wrote two positive lines on your last adventures. How did you get there? I have a little idea how you could improve and I'd like to leave you on that note of hope. What if you become the Mickey I love again in the future? The one his English-speaking comrades nicknamed The Shape and who was a fine example of absolute evil, in all that he has unfalpable and fantastic, in the supernatural sense of the term.
Michel the first name of the French version, it's serious) I might be hard but if it's to chain bloodbaths without any coherent dramatic stake behind then don't you think it's time to hang up? Yes I know you have to come back, over and over again it's your business. After all, why deprive you: Halloween Kills blew up the box office in the United States. I guess it's just a goodbye, then. I leave you on this secret that you must promise to keep between us: I still had a good time with you today, I confess. You were by far my favorite character and you did well to trick all these morons.
See you soon in Halloween Ends.
Amically.
Ummagumma
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