It's been almost a decade since Michael Myers made his presence on movie screens. The previous time, it was rock star-turned-director Rob Zombie who brought The Shape to public awareness and led a new generation of horror movie fans to find the 1978 classic by John Carpenter and the eight sequels that they followed. Of course, Zombie & # 39; s Hallowe'en (2007), which gave Michael Myers a fund that he had never had before or needed, proved controversial. Even though the film grossed just over $ 80 million worldwide, it made it the highest-grossing movie in the series, an album that will surely be about to be hit, there was a consensus that additional exposure of Zombie, the brutality of Grindhouse and the abused characters did. There are no favors to the property.
Since then, Zombie & # 39; s Hallowe'en it has been grouped with the other remakes of the 2000s. Hallowe'en and its sequel Halloween II (2009) are still controversial films that guarantee that people withdraw their credentials of horror in favor or, or, as often happens in social networks, against. And I understand it. These are not easy to love movies, especially against the perfection that are the originals of John Carpenter and Debra Hill. However, there is something inside Zombie's dirty trailer park that faces an American classic that is impossible to clean up. Rob Zombie & # 39; s Hallowe'en Y Halloween II There are dirty films under your nails, and although you do not like them, they get under the skin, leave an impression, and that is more than many of the remakes of the era have achieved.
The remakes often turn out to be controversial, but maybe none more than the horror remakes. Despite the fact that some of the remakes of the genre have become vital movies in the horror catalog – John Carpenter The thing (1982) and David Cronenberg The fly (1986) the main one among them: terror fans are fiercely protective of the original films and the canon. Rob Zombie & # 39; s Hallowe'en It came during a horror cycle that was populated by constant remakes, some with a solid reception, but many of which both critics and fans found disposable. Encouraged by the success of The Texas Chainsaw Massacre (2003), titles such as The horror of Amittyville (2005), House of Wax (2005), Black Christmas (2006), and The wicker man (2006), full cineplexes. And that does not mean anything about the Asian horror remakes like The grudge (2004), Dark water (2005), and Pulse (2006), which offered a sharp drop in quality since The ring (2002). Nevertheless, several of these remakes, although they did not reach the heights of Cronenberg or Carpenter, offered an execution that was at the height of the original property, sometimes exceeded it, and was added to the conversation. Movies like that of Zack Snyder. Dawn of the Dead (2004) and Alexandre Aja The Hills Have Eyes (2006) made failures as The fog (2005) or Stepfather (2009) It is worth sitting down, hoping that some filmmaker could argue that if a new version was not necessary, at least it was worth it. Many of these films were horror films in which tens of 20 and 30 years were weaned. Before the broadcast platforms gave us such broad access to subsequent catalogs, many fans of the millennial horror, including myself, experienced these remakes before seeing the originals, or at least they saw them so close to seeing the originals that they did not there was an interval of time by which The seed of nostalgia or reserve could grow.
Maybe, it was this time factor that allowed Zombie Hallowe'en Movies to make such an impression. When I saw the John Carpenter movie, although I knew the premise and the characters Michael Myers and Laurie Strode, I was in preparation for the Zombie movie. Therefore, the changes he offered were not so related to the original legacy, but offered a point of comparison, creating a space where both films could exist and be respected simultaneously. This does not mean that Rob Zombie Hallowe'en Exceeds the quality of Carpenter. He does not do it. But as a film that lacks the beautiful simplicity of Carpenter, Hallowe'en & # 39; 07 defended himself as an unsophisticated, crude and dirty psycho-fantasy extracted from the idea that, as the Nazareth song, used by zombies, says, "love hurts".
One of the biggest changes in the Hallowe'en The myths that Zombie created were an explanation for Michael's illness. While Carpenter's film stated that it was a blank canvas of pure evil, it was later reconfirmed and given an explanation in itself. Halloween: The Curse of Michael Myers (1995), Zombie gives humanity, makes it a result of circumstance instead of preternatural inhumanity. The young Michael Myers (Daeg Faerch) grows in extreme situations, brought up by the insults they owe more to The Texas Chainsaw Massacre The filmmaker Tobe Hooper that John Carpenter. A mother forced to work too much in a strip club to support her family, a homophobic and abusive stepfather, an equally abusive sister and school thugs possessed by a kind of cruelty beyond their years, the boy Myers never had a chance. It was always going to become something. The mask simply gave him a form through which to channel his sense of loss, betrayal and anger. Michael is, thanks to Sam Loomis (Malcolm McDowell), the result of internal and external influences. As the title card of the film says, "the darkest souls are not those who choose to exist within the hell of the abyss, but those who choose to free themselves from the abyss and move in silence between us." but one that Zombie keeps in the course of the movie creating a consistency between his two Hallowe'en Movies that he tracks.
Is Michael a less terrifying figure once we see so much of his childhood, and are given concrete explanations that explain why he is the way he is? Maybe. But this need to explain evil feels apt in a decade defined by seeking answers about why people commit acts of atrocity that they commit. September 11 and the war on terror that followed shaped our horror films. How could they not? Even though the events that explain who Michael is and why he does what happens takes place in the 90s, there is a feeling that Zombie, either consciously or as a result of the world in which he made his film, is putting our need for answers. In the subtext, link the modern horrors with the past in a way that is directly traceable, although obscured. For Zombie, Horror is generational and familiar, and that is something that appears in his films before this too. House of 1000 corpses (2003) and its sequel. The rejected ones of the devil (2005).
Once Halloween arrives at the second act and moves to modernity, revising much of the plot mechanics of Carpenter's original through Laurie Strode (Scout Taylor-Compton), the film still remains fixed on Michael. He is not a boogey man, but a fully formed man driven by primary impulses. Michael, of Carpenter, evoked the purpose and never let us know his intention. But Michael Myers (Tyler Mane) of Zombie is still a lost child trying to find his way back home, a loving family connection that never existed. Loomis and Laurie are both paths to what he seeks, the loving figure of the father and the good-hearted sister, but neither of them has the capacity to form around him the family he needs when one tries to control his narrative and others they fear its intrusion in it. The life of normality.
Both of Zombie Hallowe'en movies you owe more to Halloween II (1981) that the original, with the plot that Laurie is the sister of Michael who is in front in a more powerful way. But beyond the background story of Michael, and the inclusion of the secondary plot of brothers, Hallowe'en '07 remains largely faithful to Carpenter, while never abstaining from an aesthetic that is pure Rob Zombie. The sequel to the movie. Halloween II (2009) was met with even more disdain, even though Zombie moved further away from Carpenter and ventured into his own experimental version of the great tragedy of caring for children in the United States through the hallucinatory metaphor of a White horse. It's in Zombie Halloween II That the director is at his most interesting and safe as a filmmaker. Michael Myers gives a back seat to Laurie Strode and the trauma she has suffered. The vibration of the girl next to Taylor-Compton of the first film is eliminated and replaced by something damaged and genuinely human in its fragility. It is a performance, one of the best and most surprising exits of horror in that decade, which rejects the previous notions of the final girl and her invulnerability.
While Laurie de Laurie Lee Curtis was tough, secure and controlled even in the grip of fear, Taylor-Compton's Laurie is trapped in a downward spiral, and not simply because it seems to belong to a Nine Inch Nails video. Laurie becomes a tragic figure, one that echoes her brother Michael, while the film seeks to explore whether a similar confluence of internal and external factors can once again create the pain and rage that created Michael Myers. Zombie creates a dark fairy tale where a family's desire for a character has devastating consequences, particularly for the host family Laurie has found. While Annie Brackett and her father Sheriff Brackett had few consequences outside the 1978 movie, here, portrayed by horror legends Danielle Harris and Brad Dourif, they become a possible means for Laurie to avoid some of the damage or at least the share But Michael, and Laurie herself, eliminate that exit throughout the film, until their bottled emotions, both on the surface and in the subconscious, explode and leave nothing but devastation, and the shattered remains of families in their path .
While many horror remakes in the 21stS t In the last century, as a shadow of the original, Zombie managed to create two films that feel completely formed, even if audiences do not agree on whether they enjoy the way they took. Hallowe'en '07 is a remake with a voice of its own and Halloween II '09 is one of the most original films of the subgenre of films, and ended with a note much more interesting than any of the previous sequels. The psychological aspects of the horror, the trauma of the final girl and the thematic lines through the franchises that have become a key piece in the current modern box office horror in films like I left, A peaceful place, and even the newest of David Gordon Green Hallowe'en, were evident in the Zombie movies, which was uncommon in Slasher movies. As fans of terror, we constantly look for the new, and Rob Zombie gave us something new with his Halloween movies. Risky, divisive and elevated only by the standards that Zombie wanted to achieve, Hallowe'en Y Halloween II They are love letters to broken figures and broken minds of horror. They hurt, they heal and, nevertheless, in the end, they are totally valuable exercises to give new voices to the old stories.