In his brilliant documentary of the end of the century The American nightmare, Adam Simon located 1978 by John Carpenter Hallowe'en As the end point of a decade of countercultural horror films. From 1968 on George Romero Night of the Living Dead, Simon discovered the rebellious sociopolitical threads of films like Last house on the left, The Texas Chainsaw Massacre Y Shaking chills before arriving at the most conservative inflections of Carpenter's relentless and modern morality tale.
A thriller of suspense with style in which adolescents who practice illicit sex and intoxication are harassed and harassed by an implacable murderer, Hallowe'en It was a funhouse ride with a Puritan narrative edge. ("I did not mean to put an end to the sexual revolution," Carpenter told Simon with laughter, "and that's why I deeply apologize.") However, he also had a punk power that inspired a lot of passionate slashers of youthful terror. Friday the 13th He may have lifted his bloody riffs from Mario Bava A bay of blood (Just when Carpenter looked again at Bob Clark Black Christmas), but it was Hallowe'en That paved the way for his blockbuster success.
A series of lower sequels and restarts followed the low budget success of Rick Rosenthal's Carpenter in 1981. Halloween II (written by the original writers Carpenter and Debra Hill) for the "reimagining" of Rob Zombie and his discouraging follow-up. Now David Gordon Green, whose career has deviated from Terrence Malick-esque indie-hit George Washington to the stoner comedy of Quick pineapple Y Your Highness, retreated family plot with added PTSD.
As the departure of the 20th anniversary. Halloween H20, which effectively annulled the quotas from four to six (the superior Halloween III: Season of the Witch follows a completely separate narrative), this last incarnation effectively eliminates the sequels and simply takes 40 years after the events of the first film, with surprisingly brilliant results.
The ex-maniac Michael Myers (James Jude Courtney, with contributions from the original madman Nick Castle) is now in a mental institution, serving his imprisonment in silence. Meanwhile, the survivor and the "ultimate girl" archetype Laurie Strode (Jamie Lee Curtis, excellent) lives in a remote security, home and security complex. Occurred by the murderous specter of Myers (also known as "the form"), Laurie's paranoia has taken its toll. He has seen his marriages collapse, get away from his daughter, Karen (Judy Greer), who was taken as a child, and now fears for the safety of her teenage granddaughter Allyson (Andi Matichak). When Laurie tells the annoying podcasters who appear looking for a story: "I'm a lost case". When Michael escapes during the transfer to a maximum security prison (a gesture of assent for Halloween 4?), Laurie is not surprised. "He has waited for me," she says. "I've waited …"
Sharing writing credits with Danny McBride and Jeff Fradley, Green offers a modern slasher with an elegant package that balances the ironic humor and the callbacks of the genre with moments of gore with a rating of 18 and some games played with efficiency. There are many tributes to the first film, from the signature floating shots following Michael's slaughter to Carpenter's insistent 5/4 semitonal score, reviewed here by the teacher in collaboration with his son, Cody Carpenter, and his Godson, Daniel Davies. But while the iconic face of the Form (originally a mask of William Shatner / Captain Kirk) may have been elegantly aged and decomposed, the "pure evil" of Michael's quasi-supernatural quest retains a retro feeling without reconstruction.
What have The avenging angel of Curtis, changed somewhere between the reborn strength of a Terminator 2-It was Sarah Connor (vests and shotguns to the front) and the obsessive madness of the late psychiatrist of Donald Pleasence, Dr. Loomis. While Dr. Sartain of Haluk Bilginer can be dismissed sarcastically by Laurie as "the new Loomis, "is Strodie who actually wears that cloak, and in the absence of Pleasence, she gets along well." If the way I raised your mother means that she hates me but is prepared for the horrors of this world, "Laurie He says ominously to his granddaughter: "I can live with that."
Fans will enjoy the smart reversal of key scenes from the original, with cinematographer Michael Simmonds repeatedly framing Laurie and Michael as interchangeable mirror images, hunter and hunter, intertwined. Whether or not the new Hallowe'en It's really scary is a matter of debate; Nothing here is as shocking as the opening act of Hereditary, or as original as The new nightmare of Wes Craven, that brilliantly resurrected Freddy Krueger's long-dying spectrum in 1994. However, after four decades of diminishing returns, the fact that a man with a mask can still damn a somewhat tired audience is strangely reassuring.