REVIEW: "Halloween" or, A Forty-Year Slate That's As Eerie and Disturbing As Ever

I spent eight years trying to reach him, and another seven trying to keep him locked away, because I knew that behind that boy's eyes was purely and simply evil.

These words (at least in horror cinema) were unforgettably and chillingly spoken by Dr. Sam Loomis (the late Donald Pleasance), describing the character of Michael Myers, an mysterious and disturbed killer who, as a six-year-old child, murdered his sister and became institutionalized, only to escape fifteen years later and bring his reign of terror on the small town of Haddonfield, Illinois, on October 31, 1978, in John Carpenter's iconic and terrifying horror classic Halloween.

When creating the script and characters, Carpenter and co-writer/co-producer Debra Hill not only incorporated some common fears associated with horror and suspense a la Alfred Hitchcock, but also a villain that had a complete lack of sympathy and relatable qualities. In two words, Michael Myers would represent "Evil Incarnate," not to mention a modern day "boogeyman."

Made on a low budget, the film nevertheless took full advantage of its technical aspects, including several tracking shots from Michael's perspective (remember that nerve-racking opening), shots of him standing and staring blankly in the dark (his infamous William Shatner-esque mask and large kitchen knife in tact), and topped with Carpenter's appropriately-placed (and eerie) score. And, as another Hitchcock homage, Carpenter cast a then-unknown Jamie Lee Curtis (daughter of Psycho actress Janet Leigh and actor Tony Curtis), who went on to claim the title of "Scream Queen" from the late 70s to the early 80s (her other credits at the time would include Halloween II, Prom Night, and The Fog) as Laurie Strode, who stood out as the smartest of a group of high school babysitters stalked by Michael on Halloween night, and became the final survivor of the night.

This latter notion (when one considers the other young characters' sexual objectives, not to mention what happens to Michael's sister in the film's opening scene) may have reportedly created the misconception or myth that only virgins survive scary movies, and that sex equals death. (At least, that's what the 1996 film Scream claims.) Nevertheless, this traumatic experience takes a toll on Laurie, as well as the fact that Michael Myers apparently can't be killed. Is he human? Is he supernatural? Is he something else? "You can't kill the boogeyman," says Tommy, the little boy Laurie babysits and tries to protect.

These mysteries and mythologies about Michael would carry into several sequels, beginning with the 1981 movie, which finds Michael stalking Laurie in a hospital further into the same night as the first film, followed by the anthology (and Michael Myers-less) piece Season of the Witch (1982). Curtis returned for the 20th anniversary sequel Halloween: H20 (1998), and made a brief cameo in the poorly-received and disappointing Halloween: Resurrection (2002), before musician Rob Zombie put his own twisted and violent spin on the franchise with two films (from 2007 and 2009, respectfully).

Since the 1978 original, Carpenter went on to helm other classic horror features like 1980's The Fog and 1983's adaptation of Stephen King's Christine. He also worked on several films with actor Kurt Russell (including Escape From New York, The Thing, and Big Trouble in Little China), and even helped actor Jeff Bridges nab a Best Actor Oscar nomination for 1984's Starman. But he hadn't directed a feature film since 2010's little-seen The Ward with Amber Heard.

John Carpenter and Jamie Lee Curtis behind the scenes of 2018's Halloween

So when director David Gordon Green (whose resume includes various genres of film) and co-writer Danny McBride (a comic actor whom Green directed in films like Pineapple Express) approached Carpenter with their vision for a new Halloween, he gave his approval, for one, due to the new story's homage to the original film while standing on its own, and written as if the sequels made since 1978 had never happened. Curtis (who shares a co-producing credit with Carpenter and Get Out producer Jason Blum) was reportedly just as floored, and was excited about how Laurie Strode was written: as an older woman, struggling with PTSD, and who has been preparing for Michael Myers' return.

Death has come to your little town, Sheriff. You can either ignore it or you can help me stop it.
~Sam Loomis, Halloween (1978)

Many critics and viewers (including Carpenter and Curtis) have been calling the latest film the best since the original. And it is, agreeably, effective and electrifying, with dashes of genuine and unexpected humor thrown in. There are even many clever homages to the original film, but with a twist. (One such scene had the audience at the screening I attended clapping and cheering.) Despite some stereotypical horror conventions thrown in, many have considered this a strong film in the current #MeToo movement, what with Strode's character arc, as well as that of her daughter Karen (Judy Greer), who believes she's lost her childhood because Laurie has tried to prepare her to face evil in the world, and granddaughter Allyson (a breakout Andi Matichak), who grows concerned and possibly sympathetic of her grandmother. And the story effectively handles trauma and tragedy and how these three generations of family have been affected by it and handle it, even as two investigative journalists (and a questionable psychiatrist) try to understand Laurie's connection to Myers, and particularly Michael's motivations and emotions (if any). "There's nothing to learn," claims Laurie at one point, implying that nothing can be gained from "evil Incarnate".

That being said, the film does walk quite a dreaded balance between humanity and violence. And Michael's killing spree in this story is as violent and gruesome as it's, perhaps, ever been. While the original film relied more on psychological terror and screams, the new installment is bloody and graphic with various types of stabbings, head smashes, and butchery. We mustn't forget this is, first and foremost, a slasher film.

"There's a reason we're supposed to be afraid of this thing," says local sheriff Frank Hawkins (Will Patton). Afraid, yes. But, like Laurie Strode (who's certainly come a long way here), we can be prepared to face it and fight it. But that is far from a recommendation for viewing this film.