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- The Halloween Sequel Trilogy Collapsed With Halloween Kills
- Halloween Ends Is the Worst Halloween Sequel
- The Halloween Franchise Forgot What Makes John Carpenter’s 1978 Masterpiece Scary
As a long-time fan of the original “Halloween” film, I must confess that I was both excited and apprehensive about the new sequel trilogy. Having grown up with Michael Myers and Laurie Strode’s chilling saga, I had high hopes for this continuation, hoping it would capture the essence of the 1978 masterpiece that left an indelible mark on my youthful imagination.
In 2018, when David Gordon Green’s movie titled Halloween – the initial part of his sequel trilogy – hit the screens, fans of the franchise were filled with high anticipation that Green’s Halloween would be a worthy successor to John Carpenter’s iconic 1978 film bearing the same name, and effectively make the underwhelming sequels a thing of the past. This optimism was echoed at the box office, as the movie, set 40 years after the original 1978 film, grossed an impressive $260 million worldwide during its theatrical run, setting a new record for the Halloween franchise and the slasher genre.
In Green’s Halloween, this expectation is often met within the first hour. The movie reveals how the events depicted in the 1978 film impacted Laurie Strode, the series protagonist, and the town of Haddonfield, as they continue to grapple with the haunting presence of the series antagonist, Michael Myers. The early scenes showing Michael’s institutionalized life serve as a compelling contrast to the enigmatic disappearance of Michael at the end of the 1978 movie.
Initially, the 1978 film “Halloween” started off strongly, particularly with a chilling sequence where Michael Myers brutally murdered several Haddonfield residents in their homes. Unfortunately, the movie devolved into something contrived, predictable, and messy, ending in an unsatisfying way that left many questions unanswered. This decline was further evident in the sequels “Halloween Kills” and “Halloween Ends,” which failed to capture the essence of John Carpenter’s original masterpiece and instead tarnished its legacy. They seemed to have missed what truly made “Halloween” an enduring and powerful film.
The Halloween Sequel Trilogy Collapsed With Halloween Kills
Similar to how John Carpenter’s Halloween sequel, Halloween II, unfolds, David Gordon Green’s Halloween follow-up, Halloween Kills, predominantly takes place within and around Haddonfield Memorial Hospital. This is where Laurie Strode is admitted for treatment following the brutal confrontation with Michael Myers she experienced at the close of Green’s Halloween.
In contrast, although the hospital environment serves its purpose well in Halloween II, equipping Michael Myers with tools like intravenous lines and scalpels, the same setting in Halloween Kills seems more like a storage for underdeveloped characters and ideas. Unfortunately, the most affected character is Laurie, portrayed by Jamie Lee Curtis, who is stuck in a hospital room throughout the film without being offered any engaging actions or dialogues to work with.
Similar to how Halloween II begins, Halloween Kills starts right after the previous movie, in the chaotic streets of Haddonfield. The town’s residents, driven by fury following Michael’s latest rampage, create a dangerous environment. This scene foreshadows a heavy-handed commentary about the perils of blind anger and unhealed wounds, using dialogue that feels forced and reminiscent of Dr. Sam Loomis’s failed attempts at reasoning with Michael Myers in the overly dramatic Halloween 5: The Revenge of Michael Myers from 1989.
In the peculiar preaching style and chaotic narrative structure, with Laurie’s character being overshadowed and an overall lack of intelligence, Halloween Kills seems to stray far from the original creative foundations of John Carpenter’s Halloween franchise, much like Halloween III: Season of the Witch, which is the only film in the series that doesn’t revolve around Michael Myers.
Halloween Ends Is the Worst Halloween Sequel
As a die-hard horror fan, I’m thrilled to share that in David Gordon Green’s Halloween saga, the climactic chapter – Halloween Ends – brings forth an intriguing twist. This time around, we meet Corey Cunningham, a young man who unintentionally ends another life while babysitting, earning him the ominous title as Michael Myers’ potential successor in the chilling town of Haddonfield. After a harrowing encounter where Michael drags him into a sewer, Corey dons Michael’s mask and steps into the role of his spiritual protégé and creative muse.
In the intricate storyline of the movie, Corey, driven by a homicidal spree in memory of Michael, starts a romantic involvement with Allyson, Laurie Strode’s granddaughter, which is met with strong disapproval by Laurie due to her belief that Corey is under the influence of Michael’s malevolence. A sequence of seemingly illogical occurrences unfolds, leading Laurie to stage her own death as a trap to confront Corey and end his life. However, in a twist of fate, Corey fatally wounds himself in an attempt to blame Laurie for his murder, but Michael unexpectedly appears, aiming to kill everyone and reclaim his mask.
Although Halloween Ends was meant to be a grand finale for one of the most famous horror series ever made, it unfortunately serves as an unimpressive conclusion to a progressively problematic trilogy of sequels. Despite its commercial success, this trilogy failed to make any significant mark on the horror genre beyond reinforcing the idea that John Carpenter’s Halloween was better off untouched.
The Halloween Franchise Forgot What Makes John Carpenter’s 1978 Masterpiece Scary
As a fan, I can’t help but notice the stark contrast between David Gordon Green’s Halloween sequel trilogy and the rest of the sequels, and the original 1978 Halloween by John Carpenter. What seems to be most conspicuously absent in the newer films is the palpable presence of pure evil. In Carpenter’s masterpiece, this chilling essence is masterfully set up right from the start, as we witness young Michael Myers, under the sway of sinister forces, brutally slay his older sister.
In Carpenter’s Halloween, the concept of evil is perhaps most vividly portrayed through the depiction of Michael Myers’ murdered sister’s tombstone hovering over Laurie Strode’s friend Annie’s open-eyed corpse. This scene symbolizes Michael’s macabre creativity, his overall plan, and his masterwork, much like a previous scene where Michael, resembling an appreciative artist, tilts his head after stabbing a victim against the wall.
The artistic style in the Halloween sequels, particularly Green’s trilogy, appears to be significantly missing compared to the original film. Instead of showcasing the smooth and purposeful movements that made Michael Myers terrifying, he is portrayed as a lumbering, unrefined killer in these films. This lack of precision mirrors the impact of Michael’s iconic Captain Kirk mask, which plays a crucial role in defining him as the chilling embodiment of evil. Without this specific mask, Michael appears more like an impersonal stunt performer going through the motions rather than the menacing figure he was in the original film. By the way, you can watch the original Halloween on AMC+.
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2024-10-13 00:31