They’re sliced up with kitchen knives, hollowed out with a fluorescent strip light, bisected with a chain saw and impaled on banisters. Never was there a film truer to its name. ![]() But, Deadline argues, that doesn’t make for a thoughtful horror pic: Learning that Myers is back in action, they take to the streets, turning into vigilantes demanding his hide. ![]() The attention instead shifts to the populace of Haddonsfield, including the now-grown kids being babysat in the 1978 original, including Anthony Michael Hall and Robert Longstreet. Jamie Lee Curtis’ Laurie Strode, a bundle of PTSD in the last one, is “basically sidelined in post-surgery recovery,” THR says. The sequel picks up where its predecessor - like the original, also called simply Halloween - left off, with Michael Myers (of course) not quite dead in that climactic house fire, and quick to take out the arriving first responders. Either way, this latest installment is like a latex ghoul mask so stretched and shapeless it no longer fits. Or maybe it’s “A franchise dies tonight?” I might have misheard. “Evil dies tonight,” shout the inflamed townsfolk of Haddonfield, Illinois, more times than you can count in Halloween Kills. Returning director David Gordon Green, writes The Hollywood Reporter, has made exactly the kind of witless, worthless sequel that bled the franchise dry in the 1980s and ’90s”: Halloween Kills bowed at the Venice Film Festival, but the reviews, even the good ones, did not treat it as some cinematic work of art. Could its own sequel (the first of two) keep that going? The first reviews say: maybe, possibly not. ![]() It tried to summon the bold craft of the John Carpenter original. It was a direct follow-up to the first, cancelling the many, many rote sequels that came after. Like the recent Candyman, 2018’s Halloween didn’t just revive an old IP.
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