Halloween ★★★

I guess everyone’s entitled to one good scare

Expected more from Carpenter’s Halloween honestly. I understand it’s a cult classic, and absolutely inspired the infamous slasher cinema craze in the 1980s, with their (mostly) desexualised female protagonists and big brute monster men, usually with a horrifying mask. Carpenter’s direction is outstanding, emphasising increasing moments of horror with suspense work so refreshing that I wish horror movies today operated on the same wavelength. Halloween’s score is hypnotic, iconic increasingly tense. Carpenter utilises it ingeniously, as it works as a motif for when Myers is either on-screen or near, removing the impact of a surprise scare, but instead playing with his audience’s emotions; something’s bad is gonna happen, it’s just a matter of when.

The performances are terrible, but that’s arguably the point, as stilted dialogue is a technique often utilised by horror directors to provide a sense of unease. I’ll admit, it works, but it definitely separates me from the characters on screen. This is perhaps why I feel Halloween becomes an anti-climax, as if that score and the murders prior to the assault on Laurie Strode is building up to something, but that something is never actually realised. I also don’t think it’s scary, and I’m sure that’s purely because of age. Horror and comedy are easily the hardest yet funnest genres as they can hike in popularity at the tune of release, but the inherent subjective nature of horror, means they often age like milk. 

He came home