Review: ‘Halloween Kills’ is all slice and no soul.

HALLOWEEN KILLS

Minutes after Laurie Strode (Curtis), her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) left masked monster Michael Myers caged and burning in Laurie’s basement, Laurie is rushed to the hospital with life-threatening injuries, believing she finally killed her lifelong tormentor. But when Michael manages to free himself from Laurie’s trap, his ritual bloodbath resumes. As Laurie fights her pain and prepares to defend herself against him, she inspires all of Haddonfield to rise up against their unstoppable monster. The Strode women join a group of other survivors of Michael’s first rampage who decide to take matters into their own hands, forming a vigilante mob that sets out to hunt Michael down, once and for all. Evil dies tonight.


*Warning – this review contains light spoilers*

 

Michael Myers, Freddy Krueger, and Jason Voorhees are foundational to the horror genre – when it comes to recipes for other killer movies, they are basically salt, pepper, and butter. It’s interesting that in this age of reboots and resets, there hasn’t been a new Freddy movie since 2010, or a Jason one since 2009. But while Freddy and Jason have stayed home sharpening their weapons, Michael’s kept slashing right through the decade.

In 2018, David Gordon Green’s quasi-reboot Halloween executed a welcome return to form for the series. 2018’s Halloween represented a direct sequel to John Carpenter’s original classic – it cut out bloated plot details and re-framed the film around the core battle between Myers and Laurie Strode (Jamie Lee Curtis). It brilliantly merged classic slasher tropes with new twists and underscored it all with a thoughtful feminist attitude anchored by Curtis’ full-throttle performance. The final images of the film were nearly perfect: Myers is cleverly caged within a burning house and the 3 generations of Strode women who disarmed and defeated him ride into the sunrise united and triumphant. They’ve literally taken away his knife, and figuratively taken back their lives.

Woof. That finale would have been tough for any sequel to top, but I was comforted by the fact that many of the same players that made 2018’s entry so successful had returned for 2021’s Halloween Kills (the 2nd entry in a planned trilogy, with Halloween Ends already penciled in for next year.) And, for the first 15 minutes, Halloween Kills is up to the challenge. It doesn’t take us back to Michael in that burning building but instead flashes back to the original night of carnage back in 1978. Here, Green mirrors much of the visual norms of Carpenter’s original film to great effect. It’s a shot of nostalgic adrenaline.

But the film eventually has to come back to that burning building, and Michael, of course, has to somehow escape and get back to killing. So, what’s the problem? Like my high-school physics teacher always told me, the problem’s not what you did, but more the way you did it.

To begin with, this film is grotesquely violent. I’m no shrinking violet (and the 2018 film is far from clean), but Halloween Kills goes to such an extreme that it appears out of character for Myers. Across 10 films, Michael Myers sure has sliced and diced, but he’s never truly been sadistic. In Halloween Kills, Green seems newly obsessed with the trauma the human body can take before it expires. Heads are smashed relentlessly into walls, eyes are constantly gouged out, and blood flows like water.  If I had a quarter for every shot of glass or wood impaling a character’s throat in Halloween Kills, I could buy myself a nice sandwich.

What I don’t understand about this tone shift is why Green would abandon the core tenants of what made his previous film so successful. Maybe he was bored by the previous film’s pacing? Maybe he fell victim to studio pressures to continue to amp things up for a sequel. Whatever the rationale, it was a mistake.

The second, more critical issue, is the framing. Laurie is hospitalized for nearly this entire film, and she and Michael don’t even interact throughout this entry. I can’t help but feel that this film is just treading water until we get to Laurie and Michael’s final confrontation in next year’s Halloween Ends. With Laurie on the sidelines, her daughter Karen (the always magnificent Judy Greer) and granddaughter Allyson (Andi Matichak) have to do more of the plot’s heavy lifting. I’m always happy for Greer to get more screen-time, but this narrative choice splinters the power of that feminist trinity from the 2018 entry. You miss it, and I hope there’s a chance to get that back in 2022.

Halloween Kills has some good moments but ultimately fails to meaningfully advance the plot (or the stakes) of the franchise. Worse, it wastes the goodwill it so carefully built in 2018. I’ll still be first in line for Halloween Ends, but I’ll be scared sitting in that seat – and not for the right reasons.


 

Halloween Kills is now in theaters and on Paramount+

Universal Pictures, Miramax, Blumhouse Productions and Trancas International Films present Halloween Kills, co-starring Will Patton as Officer Frank Hawkins, Thomas Mann (Kong: Skull Island) and Anthony Michael Hall (The Dark Knight). From the returning filmmaking team responsible for the 2018 global phenomenon, Halloween Kills is written by Scott Teems (SundanceTV’s Rectify) and Danny McBride and David Gordon Green based on characters created by John Carpenter and Debra Hill. The film is directed by David Gordon Green and produced by Malek Akkad, Jason Blum and Bill Block. The executive producers are John Carpenter, Jamie Lee Curtis, Danny McBride, David Gordon Green, and Ryan Freimann.


Review: Streaming exclusively on Shudder, ‘SON’ is a mother’s worst nightmare.

SON

In SONafter a mysterious group breaks into Laura’s home and attempts to abduct her eight-year-old son, David, the two of them flee town in search of safety. But soon after the failed kidnapping, David becomes extremely ill, suffering from increasing psychosis and convulsions. Following her maternal instincts, Laura commits unspeakable acts to keep him alive, but soon she must decide how far she is willing to go to save her son.

The script does an incredible job of ramping up the tension, mystery, and danger. There are solid moments in which the audience experiences Laura’s unique brand of gaslighting. This device makes the viewer question everything being thrown their way. Emile Hirsch’s detective Paul also represents our rollercoaster of uncertainty. His sympathetic approach to Laura and David’s plight is necessary. Writer-director Ivan Kavanagh gives us more gore than I expected. The special effects makeup is outstanding. As a mother, I felt ill watching SON for more reasons than I can explain. It’s a film that Shudder subscribers (especially parents) will eat up.

Luke David Blumm gives one hell of a performance as David. He strikes the perfect balance of innocence and progressively sinister. Emile Hirsch is the grounded point man needed for a story like this to be successful. I enjoy him as a cop and as an indie horror staple. SON hinges entirely on the energy of Andi Matichak as Laura. Her vulnerability and determination drive everything. Matichak never overplays the PTSD card but uses it skillfully. 

SON is an unsettling watch, so to say the least. It is yet another notch in Shudder‘s belt.

“SON” TO PREMIERE EXCLUSIVELY ON SHUDDER 
ON JULY 8, 2021 
 
Written and directed by  Ivan Kavanagh (The Canal, Never Grow Old), SON stars Andi Matichak (Halloween franchise, Assimilate), Emile Hirsch (The Autopsy of Jane Doe), and Luke David Blumm (The King of Staten Island). 
 

 

Shudder, AMC Networks’ premium streaming service for horror, thriller, and the supernatural, announced that SON will be available exclusively to stream on the platform starting on July 8, 2021. As a Shudder exclusive, the platform will be the only subscription service that will carry the film in the U.S., Canada, the United Kingdom, Ireland, Australia, and New Zealand.