John Carpenter’s 1978 original is one of my all-time favorite films. Not just in the horror genre. Its greatness goes beyond genre filmmaking. For most films, a sequel, remake, or reboot 40 plus years after its release is borderline blasphemy, but for some reason, I’ve always been okay with creators trying to recapture Halloween’s glory. I was even excited when Rob Zombie decided to tackle “The Shape.”
When David Gordan Green and Danny McBride were tabbed as director and writer of this project, I was skeptical. I was skeptical because this reboot had been tied to varying degrees of success. H20 was a winner, while Zombie’s films felt like losses. It seemed almost like a fool’s errand. So why try to recreate the magic that was this masterpiece? But I will admit I was wrong. Halloween (2018) was excellent. It was the worthy sequel the original always needed. If the franchise stopped here, I would have been thrilled, but Green and McBride had a trilogy in mind.
Halloween Kills starts back in 1978 as we follow Sherrif, then deputy Frank Hawkins, as he pursues Michael Myers. This opening is perfect. There was a moment when I thought it was unseen footage from the original. Green is talented with the camera. However, when we are jerked back to the present, the film starts to unravel a bit.
I’ll admit I had a hard time giving this film a review because while I loved most of it, there were times when I was shaking my head. There are some very baffling plot points and some next-level cringe dialogue. Anthony Michael Hall as vigilante survivor Tommy Doyle is terrible. I have always thought Hall was a decent actor, but his performance here is a travesty. Maybe we can blame the writing because the script seems to be the big issue. There is virtually zero character development. But that’s not to say there isn’t an opportunity. Judy Greer and Andi Matchak’s characters should have more to do. This movie would make so much more sense if they were leading the cause and not Hall. The opportunity is completely wasted after a very impactful (even though it feels tonally out of place) hospital scene. Hall and Greer don’t have a much-needed conversation about the ramifications of the events that just unfolded.
While I thought there were some huge problems with this film, it’s not all bad. There are some powerful moments in this film. Green and McBride make some very pointed commentary about cancel culture and mob mentality. The horror genre is at its best when it critiques society, and this film has that. It is admittedly clunky in the execution, but I applaud the effort.
One other bright spot for me was the score. Carpenter’s original score is iconic and beautiful. He returns here to score Halloween Kills and makes some genuinely awe-inspiring choices. I never thought this score could top the original in my wildest dreams, but somehow the legend did it. It somehow feels nostalgic and modern at the same time.
Halloween Kills wasn’t the home run that the 2018 sequel was, but it’s still a lot of fun. The score, cinematography, and direction are terrific. Unfortunately, it can’t make up for a lackluster script. Much like other attempts to revive the franchise, this sequel feels like the foundation of an unfinished house. I enjoyed the themes and most of the set pieces but ultimately, Halloween Kills feels like a second act.
Rating: 6.5/10
