Halloween

Halloween

A disposable, predictable, pretentious and ultimately not just retro but regressive piece of filmmaking of which David Gordon Green and Jamie Lee Curtis should be ashamed. It was a different world 40 years ago which the original reflected. But it was unique and artfully made; a bellwether in horror cinema that people revisit. A classic for a reason. Here, a lack of innovation smothers the film; the same kills, the same characters, the same jump scares just executed with far less panache. Why does Michael kill? He’s crazy - that’s all we get 40 years later. The fact that Jamie Lee suffers from PTSD is glossed over because her paranoid thirst for vengeance is rewarded. The “good guy with a gun” scenario here is proto-fascist, far from the messaging of the classics it emulates which used the metaphor as a critical warning about isolationism and the Cold War. In 2018 we are not remiss in expecting diversity in casting as well. This film has virtually none, save an African American child who delivers stereotypical one-liners. Which brings up the point as well that there is no doubt Myers is white, if he wasn’t the cops never would have even thought about capturing him instead of unloading their entire arsenal on sight. So what are we left with? A franchise which, like its anti-hero, unfortunately refuses to die.

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