Halloween Kills

Halloween Kills ★★★½


Man, the swinging pendulum of reactions I've seen about this movie going into it. I know horror can be divisive as a genre for people, but it feels like it's still been a hot minute since a new big property installment has seen this wide of a span of reactions. I saw as many fives as I saw ones. Halloween Kills is a movie where I understand the division with it, but I came out of it with my own personal singular take: It's good. I'm pretty happy and confident to say that. Halloween from 2018 I was more lukewarm on, so I wanted to go into this with no definitive expectations with how I thought it should be. It then went on to deliver what I likely would have wanted out of a movie with Michael Myers that features the word "kill" in the title. The best parts of the previous movie to me were the scares, the violence, and the score by John Carpenter, and it was then what the movie was "trying to be about" where I got more hung up with it. Wouldn't you know it, Halloween Kills is a movie that puts practically all of its chips on three things: Scares, violence, and John Carpenter's score. And guess what? All three are even better than they were before, and out of the collective ashes I get a movie that I wholeheartedly liked. This is a movie that is moving from minute one, and you're not going to go any longer than ten or so minutes without someone getting killed by The Shape. Myers is scary in this. Fresh out of a burning house, he's armed and he's ready to carve up. If Halloween Kills is ultimately about anything, it's rage, and I think it expresses that well. It's aiming to be visceral, feelings bubbling under the seams being ready to unleash themselves towards anything around them. Anthony Michael Hall is an actor I like, good to see him in a prominent role. The opening of this movie fucking rules. I don't really want to say why because it's good to see it for yourself, but it hit all of the right notes for me for what I want from a Halloween film. It told me early on that I was in good hands, and it was like getting a neat short film prelude to a movie that I wouldn't like quite as much as that short, but was still going to get my blood pumping and remind me why I am so fascinated by the character of Michael Myers. The cinematography and the film's score are the strongest assets to me beyond the horror, how the handheld camerawork, creative edits, and more synth and piano-heavy John Carpenter score sometimes makes this feel like a film straight out of a 70's filmmaking handbook. In some ways, I maybe view it as a morbid tribute to Myers as a presence and Haddonfield as a location. Suburban America is pissed off, it's going to cause destruction that it thinks is for a good cause, but by the end, shit's fucked up even worse than it was before. Good movie, just below the belt of wanting to say "This rips." Now genuinely excited for October 2022 to see what's next.


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