Hollywood, in recent years, has been presenting us with reimaginings of old films, thanks to advancements in technology and the film industry. While some of these are truly remarkable, adding fresh perspectives to classics, others fall so far short of the originals that they leave much to be desired. In 2018, we saw the return of two horror classics: Halloween and Suspiria. The anticipation for Suspiria continues, but Halloween, which generated quite a buzz upon its announcement, has finally graced us with its presence. However, the excitement that led me into the theater was swiftly replaced by a single phrase as I walked out: “For heaven’s sake, John Carpenter!”
Let’s delve into the plot. The 2018 rendition of Halloween, aside from Carpenter’s original 1978 film, bears no connection to any other films in the series. It begins 40 years later with two journalists visiting Michael Myers and wanting to report on him. The film takes off when Myers manages to flip an entire bus and escape. Subsequently, Myers proceeds to ruthlessly murder anyone in his path until he reunites with his former flame, Laurie Strode.
The fact that John Carpenter, the mastermind behind the original, was involved in the production and even returned to compose the music after years filled me with great excitement. I thought, with Carpenter on board, it could only lead to a good film. That was until I watched the trailer. Unfortunately, the film lived up to its mediocre trailer, and, in my opinion, it turned out to be the worst installment in the series, which I deeply regret. I offer my apologies to Rob Zombie for all the criticism he received.
The film begins with a 70s atmosphere, initially giving the impression of an exciting cinematic experience awaiting us. However, when Myers escapes, the film abandons all sense of logic and descends into a cliché-ridden chaos. This is where the film seems to mock the audience with its illogical absurdities. Myers, who previously only walked, now moves as if he can teleport, deflects bullets, survives gunshot wounds, and gets hit by a car without being fatally harmed. The idea of an easily recognizable “killer” evading capture in a small town, going unnoticed by everyone, and the sheer incompetence of anyone wielding a firearm all contribute to the film’s ludicrousness. The moment the sheriff, instead of shooting at Myers descending the stairs, fires into the air, the film effectively concluded for me.
Rob Zombie’s Halloween films received criticism for straying from the essence of the Myers character. Interestingly, this film compounds the same criticisms twofold. We are presented with a Myers who mindlessly kills anyone he encounters, but the victims’ deaths are filled with clichés, which become truly vexing. Whether it’s someone slipping while running, a cape getting caught, or the police being so absurdly incompetent that they can’t hear the footsteps of a giant man – cinematic clichés can be essential at times, but incorporating every imaginable one into a film, and presenting it as the “new Halloween” seems nothing short of mocking the audience.
At one point, the film even takes a turn into the parallel universe of the Saw series. I won’t divulge the “stupidity” of the final scene to avoid spoilers. While the film’s cinematography and acting fall within the mid-range, the script, oh, that script, unfortunately, strays from its intended purpose and is cluttered with unnecessary elements. Rather than employing clichés, it has fashioned a film entirely out of cliché, which is a disgrace to the audience’s intelligence.
But don’t get me wrong, if you’re someone who relishes clichés and finds it perfectly normal for fleeing individuals to slip and fall, then this stage is yours. Enjoy your time at the cinema.
In summary, if you’re looking for a film with compelling characters and a coherent plot, you might want to give this one a miss. The only redeeming aspect of the film, in my opinion, is the presence of Haluk Bilginer. Witnessing his rich performance in a foreign project for the first time pleased me.
In conclusion, if you are one who appreciates clichés, laughable character decisions, and a film that seems intent on testing the limits of credulity, then by all means, the spotlight is yours. Welcome to the silver screen.
Cast & Crew
director: David Gordon Green
writers: Danny McBride, David Gordon Green, Jeff Fradley
starring: Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, Virginia Gardner, Nick Castle, Toby Huss, Drew Scheid, Miles Robbins, Dylan Arnold, Haluk Bilginer
USA | 2018 | 106 MINUTES |