Halloween (2018)Reviewed By Rob Gonsalves
Posted 10/30/18 06:53:34
Funny how the new "Halloween" seems to unfold in a present trapped in the past.Old Haddonfield, the site of the original 1978 Halloween’s horrors, looks pretty much the same now as then. The movie’s lead character, Laurie Strode (Jamie Lee Curtis), looks plausibly like a woman the original film’s Laurie would have grown to become in forty years. (This wasn’t true of Laurie’s appearance in 1998’s Halloween: H20, where she rocked a tres ‘90s pixie cut.) Laurie is so haunted by her past she’s destroyed any relationships she’s had, including with her grown daughter Karen (Judy Greer), although her granddaughter Allyson (Andi Matichak) keeps in tentative touch with Laurie.
Funny, too, how I should lead with this stuff about the past and family and not, say, how scary the new Halloween is. That’s because it isn’t, particularly, but in this case that’s not necessarily a demerit (it does pack a few good wallops for those who came for a horror movie). Halloween 2018 is a far different animal than Halloween 1978 — not better, not worse, but different. At times, the sad sight of the gray-haired Laurie wielding a shotgun in readiness for the violence she can never escape makes this feel very weirdly like a slasher version of Unforgiven. In writing the first Halloween, John Carpenter and Debra Hill didn’t put anything under the hood except what was needed to make the thing go. (And it went like a rocket.) This one seems to have all kinds of stuff under the hood. And that may be partly because something like this, a forty-years-later sequel that’s in tight continuity with the original while denying any other sequels happened, hasn’t quite been done before. It’s unique and strange — certainly the oddest duck to top $125 million at the box office in ten days.
While being transferred from one facility to another, the franchise’s Boogeyman, Michael Myers, causes the asylum bus to crash, and he escapes. Laurie has been waiting for this to happen — longing for it. In the new canon, Laurie is no longer Michael’s estranged sister (as was revealed in 1981’s now-nonexistent Halloween II). She was just a high-school girl who happened to catch Michael’s notice. Maybe she reminded him of the sister, Judith, he’d killed as a boy. The new Halloween doesn’t assume or require any knowledge outside of the first film; you don’t need to have seen Halloween 4 or 5 or Halloween: Resurrection (all equally consigned to canonical oblivion now, and good riddance) to understand this film. I wonder if you even need to have seen the first film (although of course you should), because its story is such a part of the shared American cultural fabric by now. Carpenter’s film may have become one of those touchstones everyone knows the story of even if they haven’t seen them, a foggily remembered Grimm fairy tale.
And what about the new characters? There’s a “new Dr. Loomis” who demonstrates what can happen if you become obsessed with one patient without having Loomis’s rock-solid morality. (I guess that’s why he’s there. His character is more intriguing to think about later than to watch; his actions resonate more as subtext than as text.) There’s Laurie’s family, three generations of strong, smart women trying to pull violence out of their DNA by the roots. Aside from a hilarious young actor named Jibrail Nantambu as a kid being babysat by one of Allyson’s friends, Jamie Lee Curtis owns the movie. She doesn’t make the mistake of playing a PTSD sufferer realistically; she gives Laurie a rigid righteousness that comes from years of dealing with having been singled out by the Boogeyman for no reason that makes sense to her. She thinks the shadows are full of predators and ghouls, and in this case — and not just about Michael — she’s right. (The movie begins with two dumb-ass podcasters whose presence in a plot sense seems boringly utilitarian, but they work as another kind of parasite on Laurie’s pain.)
The director/cowriter here is David Gordon Green, who has had one of the more peripatetic careers in recent cinema — he started off eighteen years ago as a Terrence Malick acolyte with George Washington, and has done various dramas (Joe) and thrillers (Undertow) and stoner comedies (Pineapple Express) and biopics (Stronger, Our Brand Is Crisis). Now this. Green, who wrote the script with Danny McBride and Jeff Fradley, has been circling the idea of bell-bottom-horror remakes for a while; he almost made the current Suspiria redo. Green’s Halloween (some jagoff will probably nickname this Hallogreen the way Rob Zombie’s two entries are known in derisive quarters as Zombieween) comes off as one fine director’s tip of the hat — of respect, of appreciation — to another. The images have an autumnal fullness and richness that recall Dean Cundey’s cinematography on Halloween ’78, though the editing here is much antsier, the compositions more jumpy. I felt that this is what the miserable Laurie’s Halloween would look like forty years on. It’s full of betrayal (even Allyson gets cheated on and then almost macked on by a drunk guy friend) and men who go off and die stupidly while the womenfolk hole up with their guns; it’s full of bashing violence.It all expresses Laurie’s worldview of death-filled shadows, but those shadows can be lit up, and the evil inside them turned to ashes — by women.
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