It's been four decades since Michael Myers and his fear mask first gave us volunteers in John Carpenter's "Halloween," which makes him the 61st – and, if you have to believe the sequel of the same name by David Gordon Green, is still in possession of a spine ramrod, pilots' fists and non-arthritic knees. Meals at Smith's Grove Sanitarium, where it has been chilling on its heels all these years, must be unusually nutritious.
On the other hand, Laurie Strode (Jamie Lee Curtis), the struggling nanny from Illinois who once eluded Michael's harassment and cutter wave, has aged more credibly than her nemesis. Now that it is a case of a grandmother and self-styled, Laurie has overcome two failed marriages and the estrangement of her daughter, Karen (Judy Greer), who is marked by a childhood full of doomsday preparation. With her eyes burning under a gray-haired fuzz, Laurie lives in a fortress-like house with a hole hidden in the kitchen and with weapon cases instead of art, convinced that Michael will one day return for her. (She may be paranoid, but she's not stupid: when two English-speaking podcasters looking for the real crime appear on her steel doors, she accepts her $ 3,000 and sends them packing).
The[[Read The New York Times Review of the original movie]
And Michael returns (played by James Jude Courtney, with a cameo from the original actor, Nick Castle), escaping from a prison transfer van on Halloween night and plodding back to finish the job. At this point, Green (who wrote the script with Jeff Fradley and Danny McBride) makes a crucial decision. Leaving aside the attempts, mostly pale, to resurrect Carpenter's minimalist masterpiece, he has made a direct sequel, a rematch between the heroine and the villain. This is not a sarcastic, ironic image: Green wants us to believe in his Bogeyman, and Curtis is his best card. Without leaving room for winks or giggles, it makes Laurie's terror for a long time to become the glue that holds the film together.
And we need it, because, otherwise, the filmmakers have little more than a conventional slasher movie peppered with memory triggers and callbacks to their source. The familiar voice of Donald Pleasence (actually a similar sound), like Michael's previous psychiatrist, is heard on an audio tape and iconic images: a rack door; A bulging figure, illuminated with streetlights, press our buttons of pleasure. Just like the familiar family theme, the action is put in jeopardy when babysitters and fledgling boyfriends are put in danger, including Laurie's granddaughter (Andi Matichak). But the count of corpses is respectable, although it does not seem remarkable, according to the standards of today: the original "Halloween" never had to do with the volume.
Maybe by pleasing the spectators who expect a higher disgust factor these days, This new iteration is more frightening but much less terrifying, its elegant and efficient substitutes for forebodings. Carpenter's moderation and patience are lacking, the moderation that turned the simple shots of a dark staircase and a silent, leaf-lined street into spaces full of fear. His Miguel was both man and myth, particular and universal, psychopath and supernatural entity. There is a reason why it also appears in the credits as the Form.
By sending Michael to do his best, such as sitting in the back seat and sitting unexpectedly, Green reduces a character that was the ultimate mystery of a device that provoked the audience and that feels as worn as his perfectly aged mask. Although I suppose that when you're alone on the side of the Social Security collection, nobody can blame you for looking a little tired.