Halloween Kills

Halloween Kills

Umm. This left me throughly confused on why it even exists. As a sandwich between the first thoroughly confused 2018 reboot, and unnecessary third in the trilogy due out next year(unless super Covid or Micheal gets us first), what is the point of this? Like, I get it has half-hearted attempts at saying something about something, but to who exactly? Since when did brutal violence equate fear or actual horror? Well, credit must be given to Rob Zombie, even if I disliked his Halloween takes immensely, he utilized brutal violence in a way that called attention to it being as ugly as it needed to be. Here? Needless. Since when have they been slipping Myers copies of The Raid 2? Does it really matter? Does anything matter? Not really as dumb victim after victim meets their gruesome end to an unstoppable killing machine that has obviously been supernaturally set up to be literally invincible. Of course, mob justice or INJUSTICE obviously causes more harm, which, was explored in about two of the other sequels—but don’t worry if you haven’t seen them, this film provides made up flashbacks to the 78 original, just in case you walked in completely brainless. And if you did, you’ll be walking out the same way. Sure—the body count is high—when has that ever mattered? Honestly? Quantifying human suffering via all the “modernizing” of having POC and token gay couples killed in a slasher use to be a trope that slasher fans laughed off. Now it just feels grossly by the number. Laurie is once again shacked up in a hospital with a fright wig and given less to do than promote a yogurt that makes you shit regularly. Judy Greer being the only light in bringing some levity and honest empathy to her character, even when it’s being far more on the nose about how “good” she really is. It’s all beside the point, including this film. Carpenter is at least honest about being paid, smoking weed, and playing videogames. Green & McBride & Third Writer Entity have no clue what makes for a good horror film—even baseline trashy splatter exploitation. No sense of mood or tone or atmosphere can be established beyond the already drab & paint by numbers direction instilled from the first film. It’s all a set up for the last film, which will prove once and for all, you can’t really kill good business. Micheal will keep on killing so long as people keep on paying to see him kill.

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