Fans of horror movies are a subgenre of special audience. They will travel to the drive-ins in the middle of Mojave for a good excitement. They are especially loyal to the Hallowe'en franchise that has been creating goosebumps, heart palpitations and heebie-jeebies for 40 years. They do not care if the last walk around Jack-o'-lantern is not as good as John Carpenter's original fight or even any acceptable restart of that 1978 classic at all. Nor do they care if, after all these years, Jamie Lee Curtis is too long to continue screaming every time Michael Myers appears with a new ax. He has been burned, stabbed, shot, drowned and beheaded before, and nothing has stopped him yet.
Do not, Hallowe'en Addicts just want more, and so do I. Unfortunately, this does not deliver the products with new ideas or new suspense. It just stays there, like pumpkin leftovers.
Subscribe to Observer's entertainment newsletter
Turkeys, rabbits and Santa Claus in danger of extinction have never done for Thanksgiving, Easter and Christmas what Jamie Lee Curtis has done for Halloween. Now, 40 years after the Halloween night in which the first film took place, she returns to the bloodstained gardens of Haddonfield, Illinois, where, like Laurie Strode, she was the only nanny in the city who escaped a massacre serial killer in a madness. scary mask that started it all.
HALLOWE'EN ★★ (2/4 stars)
Four decades have left her almost as insane as her tormentor, and she has spent the years cautiously, becoming a crazy city far from her mother Karen (Judy Greer) and her granddaughter Allyson (Andi Matichak). No matter. She has been crazy about terror, permanently upset by paranoia and fear as she prepares her home for the inevitable return of Michael Myers.
A teacher in self-defense, she has a hiding place under her apartment as an anti-aircraft shelter and an arsenal of automatic weapons that outnumbers Republicans in the United States Congress. Smart girl, because, as expected, she escapes again from a foolproof asylum and heads to Haddonfield faster than you can say "Motel Bates".
David Gordon Green, who made past horrors as Quick pineapple Y Our brand is crisis, he is not an imaginative director, so the result is a disappointing collection of the usual clichés, including children too drugged or drunk to use common sense when the floor creaks in an empty house, victims who lose their cell phones before let the danger come, and assortment of dumb cops and naive psychiatrists who say things about the monster like: "Remember, it's state property, it must not be damaged!"
Michael no longer crawls in the bushes waiting to jump. On the safest night of the year, when everyone thinks he's just another Trick-or-Treater in a Michael Myers costume, he simply goes directly into people's houses, cuts his throats and puts his head in without interference. There are some bloody fears here and there, but the emotions are uneven and all configurations have a tired feeling of déjà vu.
Unfortunately, Michael Simmonds' camera work for Hallowe'en The year 2018 also lacks the clarity and beauty of the original cinematography that made the 1978. Hallowe'en One of the best photographed horror films of all time. It is not surprising that the script created leads to a final confrontation between the indefatigable girl and the indestructible ghoul. But in 40 years, what once seemed creepy now just seems corny. I regret to report that in 2018 Hallowe'en, the howls sound more like giggles than screams.