Halloween Ends

Director: David Gordon Green
Starring: Jamie Lee Curtis, Andi Matichak, Rohan Campbell, Will Patton, Kyle Richards, James Jude Courtney, Nick Castle, Jesse C. Boyd, Joanne Baron, Rick Moose, Michael O' Leary, Keraun Harris, Jaxon Goldberg
Running Time: 111 min.
Rating: R  

 **The Following Review Contains Major Plot Spoilers For 'Halloween Ends' **

★★★ ½ (out of ★★★★)

For decades, each new Halloween film has generally followed the same template as those that preceded it. What this entails is some variation on the plot of Michael Myers coming home to unleash violence and terror on Haddonfield. That's not to say it hasn't been fun, but Halloween Ends, the third and final chapter of David Gordon Green's reinterpretation of the franchise does something only Halloween III: Season of the Witch and Rob Zombie's Halloween II have attempted. It actually breaks from the formula in a major way, going nearly an hour without showing The Shape at all, telling a self-contained story in which other characters are are given room to breathe and develop, building for the moment he does eventually show up.

In lifting the narrative weight that's dragged down previous installments, we're permitted to hang in Haddonfield and watch people interact without constantly counting down the minutes until you know who shows up. With last year's Halloween Kills pushing the envelope as far as possible in terms of Myers surviving, Green goes in the entirely opposite direction, delivering on the quieter, more character focused aspect many expected him to bring in 2018. While that was a well made quasi-sequel doubling as a soft remake, it did earn some comparisons to Star Wars: The Force Awakens, reminding us of the stringent requirements that often accompany a major IP like this.

This is the real reboot, employing a much maligned tactic that made horror fans' blood boil the few times we've seen it in Friday The 13th and A Nightmare on Elm Street sequels. Even Halloween has dabbled in it before (who can forget the cult of Thorn?) But it's actually done well here, playing out in a fresh, exciting way that makes it feel like uncharted territory. As a sidelined Myers is finally given the "time out" he's needed after years of misuse and overexposure, a compelling new character infected with similar urges rises up to take his place. Even while not physically present, Myers' impact and legacy is felt, as the script digs further into Haddonfield's ongoing fear and paranoia while touching on issues related to "cancel culture." So if the big draw was intended to be Laurie facing Michael for the last time, it speaks volumes that it's taken this long to mention that.       

It's Halloween night 2019 and Corey Cunningham (Rohan Campbell) is babysitting a young boy named Jeremy (Jaxon Goldenberg), who pulls a prank that ends in a horrifying accident, with the boy dead and Corey accused but eventually acquitted for unintentionally killing him. Three years later, he's a public pariah working at his stepfather's salvage yard while Laurie Strode's (Jamie Lee Curtis) writing her memoir while living with granddaughter Allyson (Andy Matichak) in a new house, both still reeling from Michael Myers' (James Jude Courtney) last rampage. 

When Corey ends up cutting himself in a confrontation with some high school bullies, Laurie takes him to the hospital where he connects with Allyson, who's working as a nurse. They grow closer and begin dating, but something's off, and Laurie's initial support for their relationship gives way to skepticism. Still being taunted and blamed for Myers' reign of terror, she notices a change coming over the increasingly unpredictable Corey. Now with Allyson slipping away and the community rallying against her grandmother, Michael lurks in the sewers and shadows, making a new friend who plans on following his blueprint for destruction.

Starting the film with a tragic event that vaguely recalls the original Myers murder is shocking, immediately setting this apart from other sequels and opening the floodgates for a number of questions. Who is Corey Cunningham? Why are we watching him? While it's apparent early that the absent Michael isn't directly a part of Corey's personal trauma, he's still very much a part of Laurie and Allyson's, while continuing to hold Haddonfield's residents in paralyzing fear. And explored more concisely here than in the previous film, that fear only begets additional fear and violence. As for the opening sequence, it stands out not just for what happens, but the grisly, darkly comedic tone with which it unfolds. 

With a few notable exceptions, Green generally holds back on the winks, nods and Easter eggs that permeated his first two films, but he gets a good one out of the way early with the Halloween III style title credits, a first of many clever departures and a nod to the only movie containing less Michael. Surprises continue when we still don't go into any Myers follow-up, instead tracking Corey as he faces the harsh hostility and abuse from frothing townsfolk, most of whom have now gone full scumbag after the lack of resolution and justice from four years ago.

When Corey first comes face-to-face with a concerned, empathetic Laurie, the dots begin connecting, even if what comes next remains fairly unpredictable, a rare feat for this franchise. If everyone except Officer Hawkins (Will Patton) hates and blames Laurie, Haddonfield finds it even easier to despise someone they consider a "child killer." And the best thing about Rohan Campbell's performance is that along with the goofy charm, he conveys an awkward instability right from his initial appearance that remains consistent throughout, only adding layers of complexity to what later occurs. 

Green, Danny McBride, Paul Brad Logan and Chris Bernier's script actually takes its time putting Corey through the wringer before meeting his match in Allyson, who's a far cry from the underdeveloped, supporting character Andy Matichak previously made the most of. Now she's essentially a full-blown lead in the vein of Curtis in the original, but under completely different circumstances. Wrestling with the pain and judgment that's accompanied their respective tragedies, Allyson and Corey attract immediately, but believably, as the writers spend nearly an hour fleshing out this relationship, knowing just how much more it will mean when it implodes. 

On paper, none of this should work, but there's just something so rewarding about a smartly conceived Halloween movie that actually develops its characters while simultaneously letting us observe the toxic behavior that's infested this community. Is it entirely due to Myers? The true nature of evil is a scintillating question the franchise has frequently hung its hat on without ever exploring too deeply. This is the closest it's come, asking whether the propensity for Corey to follow in Michael's footsteps was always there or this was a monster was created by the citizens of Haddonfield.

The film goes from strangely good to great during an incredibly shot party sequence at Lindsey Wallace's (Kyle Richards) bar when Allyson helps Corey put his guard and inhibitions down, only to experience more abuse and humiliation for it. Through Myers he'll get his revenge, but that party marks the last time Corey's literal and metaphorical mask comes off. And it's notable that instead of going for the easy shout-out with a clown mask, Green opts for the creepy scarecrow, which undeniably works just as well, if not better.

Damaged after losing both parents, it makes sense Allyson's empathy for Corey only increases the further he sinks into Myers' abyss. Knowing what it's like to be on the outside looking in, her tension with Laurie grows as Corey's rage intensifies. It's an intriguing dynamic for Curtis this time around, leading to Laurie's memorable verbal confrontation with him in the "new Myers house," the site of Corey's life-altering trauma. The "psycho" meets the "freak show" as Laurie lays down the law, serving as a warm-up for when she gets her badass on again later. But until then it's Corey in the driver's seat, going on a streak of revenge kills that are more creatively suspenseful than gory, with the crazy death of that radio DJ being an exception that harkens back to the over-the-top glory days of the franchise. 

Other than a new but sparser than usual John Carpenter musical score, his fingerprints aren't exactly all over the picture this time, though the overall influence is still definitely there. The plot is very singularly focused with far fewer characters than the more overstuffed Halloween Kills so you're either on board with Green's very specific vision or not. Horror fans who aren't will probably be ripping out their hair in frustration, but this narrower focus allows so much development for Corey and Allyson, introducing a sorely needed human element that's gone missing in these movies for years.

As thrilling as it is seeing a Halloween entry not only survive, but outright thrive without Myers, we know at some point he'll become more involved, regardless of his physical deterioration. Played again by James Jude Courtney, Michael first appears a shell of his former self, old, injured and worn out enough that he needs help shaking off the rust. There's this weird tranference going on with Michael and Corey that the writers are smart enough not to overexplain since it's pretty clear why the latter is particularly susceptible. 

Myers has always registered best when treated like Jaws, with his absence making the suspense and terror slowly simmer. Much of that has been abandoned by lackluster entries, but this does it right, with Michael getting a second wind thanks to his alliance with Corey. Working together and murdering in tandem in ways that vaguely recalls Scream, but with more fleshed out psychological motivations, Corey will find out that no one stays friends with Michael for long. 

If the film has a flaw, it's that it cuts bait on Corey a little too early, or even at all, since it's hard to imagine better groundwork ever being laid for Myers' logical successor, especially given how this ends for the Shape. Campbell and Matichak are so good it legitimately feels like a loss that they're not continuing in these roles, but with this being Blumhouse's last entry and closure being paramount, we're left wondering what could have been. And that's okay.  

The trilogy-ending Strode vs. Myers fight is basically a contractual obligation at this point. It's the finale fans want and their kitchen brawl more than gets the job done, as does the solemn Haddonfield funeral procession and subsequent public shredding. But none of that will be what's most remembered. It's everything else that breaks the mold, especially the depiction of a relationship between two believably written new characters we actually care about, anchored by a pair of performances that might only be topped by Curtis' in the original. 

You can't claim Green's effort just blends in with the rest or doesn't earn its divisive reaction by making bold choices. For all the reshoots, delays and bad early buzz, at the end of the day he stitched together a really special final chapter that acknowledges the past and uses it to create something different. Consider it a litmus test, separating fans who follow the series for Michael from those who watch for what he represents, as if Carpenter's intention of an anthology centered around the holiday has finally been fulfilled. But like Season of the Witch, the only problem is the word "Halloween" in its title, along with all the baggage and expectations that brings.You can only imagine this growing in stature once we inevitably groan at the next reboot's promise to go "back to basics," without truly grasping what that means. There's nothing basic about Halloween Ends, and it's all the better for it.           

Halloween Kills

Director: David Gordon Green
Starring: Jamie Lee Curtis, James Jude Courtney, Judy Greer, Andi Matichak, Will Patton, Anthony Michael Hall, Dylan Arnold, Thomas Mann, Charles Cyphers, Kyle Richards, Nancy Stephens, Omar Dorsey, Jim Cummings, Scott MacArthur, Michael McDonald
Running Time: 105 min.
Rating: R 

**The Following 'Halloween Kills' Review Contains Some Plot Spoilers**

★★★ (out of ★★★★) 

Even by Halloween franchise standards, David Gordon Green's sequel to his well-received 2018 reboot is insane in ways both thrilling and infuriating. If his initial installment took great pains to move as far away from the series' mythology as possible, retconning everything that came after John Carpenter's 1978 original, Halloween Kills does a complete 180, agressively engaging in call backs and fan service to the point that it nearly feels like a horror convention reunion. It even features one of sorts, as a major plot point revolves around the gathering of legacy survivors and flashbacks that frame past events in a new context. It's also overflowing with about as many characters as a horror film can contain, opening up its world while shifting some focus away from the three main heroines.

With Blumhouse delivering something that feels more akin to a Friday The 13th installment, complete with a Rob Zombie-like zest for brutality and gore, the envelope's pushed in terms of how much enjoyment that can be creatively derived from within the confines of this property, or even the genre itself. We've been kidding ourselves for a while now with Halloween as it's continued to ride the goodwill of a 40-year-old classic, all while fans cling to potentially getting a new film worthy of sharing its title with the groundbreaking original. 

2018 gave us the return of Jamie Lee Curtis to her most famous role and a respectable writing and directing team at the helm promising a return to basics. Bolstered by Carpenter's credit as a producer, that film may have been a minor triumph, but a certain ceiling and stigma have remained from the sequel silliness endured by fans through the years. As messy as it is, Halloween Kills doesn't pretend to be anything other than what it is, never dragging despite a number of elements that could have been excised without consequence. But no matter where this lands in the rankings, it still strangely fits in with the rest, while also managing to stand on its own as a major outlier.  

Immediately following the events that occurred on Halloween night, 2018, a seriously injured Laurie Strode (Curtis), her daughter Karen (Judy Greer) and grandaughter Allyson (Andi Matichak) rush to Haddonfield Memorial Hospital as the Strode residence burns to the ground with Michael Myers (James Jude Courtney) still trapped in the basement. When the firefighters arrive, they're systematically picked off one-by-one by the The Shape, who survived the blaze and now has his sights set on terrorizing Haddonfield before going "home" once again. Meanwhile, Allyson's ex-boyfriend Cameron (Dylan Arnold) discovers deputy Frank Hawkins (Will Patton) bleeding and clinging to life after having been stabbed and run over by Dr. Sartain. He'll soon be joining Laurie in the ICU, even as he's still haunted by the results of an encounter he had with Michael on Halloween night 1978 that led to a fellow officer's death. 

At a local bar, another Michael survivor, Tommy Doyle (Anthony Michael Hall) has gathered with friends Marion Chambers (Nancy Stephens), Lindsey Wallace (Kyle Richards) and Cameron's dad, Lonnie Elam (Robert Longstreet) to mark the 40th anniversary of Michael's imprisonment. Unbeknownst to them, he's already returned to Haddonfield and is still on the loose, continuing his murderous rampage. After hearing the news, a determined Tommy begins organizing a mob of other furious Haddonfield townsfolk intent on capturing and killing Michael, whose body count is sure to increase as he lurks in the shadows, stalking his next victims.

Green doesn't exactly pick up where he left off, opting instead for flashbacks to previously unseen events involving a young officer Hawkins (Thomas Mann) the night of Laurie's ordeal in '78, as well as a backstory of a young, bullied Lonnie (Tristian Eggerling) and his close encounter with Michael (Airon Armstrong). This is a hard, sharp turn considering the 2018 reboot was built on the promise of a fresh start, free from the baggage that followed the original. For an opening, it's fine, aesthetically recreating the atmosphere of the late 70's Haddonfield well enough with a believable performance from Mann, but when Green breaks into the already loaded present-day action to revisit this throughout, it does become a bit much.

While those scenes work, they certainly don't simplify things, and there may be a 50/50 split among fans about being visually treated to a new scene at the Myers house that would have only otherwise existed in our imaginations. The Star Wars-like digitized audio sampling of Donald Pleasence's voice as Dr. Loomis (played by Tom Jones Jr. in the flashback), comes off far better than it should, only leaving the question of whether any of this is entirely neccessary. Still, it gives the picture an unusually old school start that segues into the franchise's classic pumpkin title sequence, complete with John Carpenter, Cody Carpenter and Daniel Davies' hypnotizing score, arguably the most valuable element in both Green films.   

The idea of a horror sequel, or even specifically a Halloween, picking up minutes after the previous one concludes is tremendously smart because it keeps the narrative momentum going. That concept is somewhat blunted here, with not only the insertion of an opening flashback, but even a scene from 1981's Halloween II, which shouldn't technically exist if we're holding Green to his word about this trilogy. With Laurie bedridden at Haddonfield Memorial Hospital for much of the first hour, it's natural to assume we're being set up for another round of Laurie vs. Michael in the same vein and setting that closed the original sequel. Luckily, this doesn't happen, maybe partly because the script can only squeeze in so many callbacks, topping out long before that. Most of them involve the group of survivors led by a revenge-consumed Tommy. Their storyline is undoubtedly engrossing, even as it does temporarily push the three generations of Strode women to the sidelines at the hospital, grappling with the realization that they didn't finish off Michael after all.

The Boogeyman is definitely in top form, with James Jude Courtney again an imposing presence in kill scenes that carry more emotional weight than usual due his eventual victims getting more screen time and personality this go around. Green also lingers on the deaths in ways he didn't in his previous outing, both in registering their reaction to impending doom and as the life escapes their eyes in the final moments. It isn't gratuitous as much as disturbing, with the slaying of a bickering elderly couple (played by Diva Tyler and Lenny Clarke) standing out as especially bone-chilling and uncomfortable.

Costumed doctor and nurse couple Vanessa (Carmela McNeal) and Marcus (Michael Smallwood) return in larger supporting roles, providing surprisingly fun comic relief, as do new, noteworthy characters Big John (Scott MacArthur) and Little John (MADtv's great Michael McDonald) a same-sex couple currently occupying the Myers residence. Transitions between this kind of comedy and the slayings aren't as jarring or clumsily handled as they've been in previous outings, rarely resulting in the usual tonal whiplash associated with the series. There's also a great deal of suspense generated from a forest scene involving Kyle Richards' Lindsey, who, aside from Anthony Michael Hall, leaves the most lasting impression of the legacy cast.

Hall presents a jarring Tommy Doyle, who proves to be a far cry from Paul Rudd's version in Halloween 6. It turns out that kid Laurie babysat grew up to be a one-man vigilante machine with a shaved head and brutish obsession with revenge, while still remaining a decent enough guy to root for. Michael's return changes everything for him as he rallies the Haddonfield mob in what ends up being the most controversial aspect of an an already polarizing film. Green doesn't quite connect the dots with whatever socio-political statement he's trying to make about mob mentality, but when the angry residents descend upon the hospital with blood lust in their eyes, what unfolds is comparable to a car crash you can't turn away from, or more accurately, a modern day take on The Twilight Zone episode, "The Monsters Are Due on Maple Street." 

The hospital riot provides Judy Greer with one of her two big showcase sequences, perhaps to make up for playing a somewhat smaller role opposite Curtis last time. If Andi Matichak stepped up to emerge as one of the stronger components of H18 as Allyson, now it's Greer's turn. Matichak impresses again, especially toward the final act, but it'll be Karen's literal face-to-face with a maskless Myers that's talked about. Recognizing the value that still remains in keeping Michael's features a mystery, Green is careful to show just enough, but not too much as to demystify him. Someone had to go, and it wasn't going to be Laurie, with key lynchpin Curtis still due for her final showdown with Michael. Matichak's Allyson is the next generation, so process of elimination leaves us with the only major death possible, done in a way that cleverly calls back to the '78 original, all while ensuring there's still hell to pay in Halloween Ends.    

More than most, this effort represents the idea that we've all reached a point where it's just not important whether some masterpiece Halloween movie ever comes down the pike again. And that might not be such a bad thing. So while it's possible a much better film could have emerged without the extra post-production time afforded to overthink certain decisions, that's not likely knowing the franchise's track record. Instead, we're left to be entertained by an installment that's sure to be argued about and rewatched for some time to come. And the first since Zombie's underrated 2009 Halloween II to take some real risks, both for better and worse. It's not hard to imagine this getting a similar reappraisal down the line, as its flaws possibly iron out with future viewings.  

Green getting a jump on some of these characters and ideas in 2018 probably would have led to a smoother, less busy result, but the craziness is a big part of its charm. That can't always be said for a lot of these. Some of the worst entries manage to be dull and poorly made, two categories under which Halloween Kills definitely wouldn't fall. While frequently overindulging, at least Green isn't phoning it in, clearly laying the groundwork for what's next. Everything points toward a more streamlined finale that's sure to focus almost entirely on Laurie and Michael. But this sure took us on a wild ride to get there.    

Halloween (2018)

Director: David Gordon Green
Starring: Jamie Lee Curtis, Judy Greer, Andi Matichak, James Jude Courtney, Will Patton, Virginia Gardner, Haluk Bilginer, Toby Huss, Jefferson Hall, Rhian Rees, Dylan Arnold, Miles Robbins, Drew Scheid, Jibrail Nantambu
Running Time: 106 min.
Rating: R

★★★ (out of ★★★★)

Of all the horror sequels, prequels and reboots, none have beaten into the ground quite like Halloween. Michael Myers' origin story has been told and retold so many times that you have to wonder how even the hardest of hardcore fans haven't reached the point of complete exhaustion. How many times can The Shape escape from the mental hospital and wreck havoc on Haddonfield? Or come back "home" to the Strode house? Even with this newest Blumhouse-produced incarnation of the property directed by David Gordon Green and co-writtten by Danny McBride arriving in time for the original's 40th anniversary and being co-produced and endorsed by John Carpenter himself, its biggest hand was already been played. Jamie Lee Curtis reprised her legendary role of Laurie Strode in 1998's underwhelming Halloween: H20 with mixed results, mostly due to the lack of any long-term vision for the character.

Now accompanying Curtis' return is a pesky continuity problem that Green and McBride believe they can solve. Just retcon the whole thing. Or at least every film that followed the 1978 original, which remains highly regarded enough to make this experiment worth a try. Gone are all the returns of Myers, who we now learn has been confined to a mental hospital for the past four decades following his October 31st killing spree. Wiped away with it are any revelations that came in subsequent installments, including the big one that Laurie is Michael's sister.

While all of this sounds fine and good on paper and it's tough to argue few better options exist, it sure is asking a lot from fans. Or is it? Aside from the Myers-less, but underrated Halloween III: Season of the Witch and Rob Zombie's polarizing Halloween II, none of the previous entries have ever truly attempted something different. By committing to this crazy idea, Green's film forces the series to go a little out of its comfort zone, resulting in one of the more skillfully made outings since Carpenter's classic. Given the talent involved, that isn't much of a surprise. even if it comes at a cost. Whatever disappointment comes from the realization that it still, for better or worse, feels like a Halloween movie, stopping short of transcending the genre to become something more. You could argue that would always be too tall an order, but this sequel does feel as steeped in the year it was made as the original likely did in 1978.

With the "#MeToo" movement permeating through its female-driven empowerment narrative, it does away with away attempts to "understand" Michael Myers, even going so far as to mock the current criminal psychology boom surrounding serial killers. A welcome return to Carpenter's initial idea of the faceless, random form of evil known as the "Boogeyman," this had to be one of the toughest installments to plan. The results aren't always entirely successful, but Green deserve credit for not only pulling this off, but crafting a worthy successor that's as thrilling to discuss and dissect as it is to watch.

The 40 years since towering, emotionless killer Michael Myers terrorized Haddonfield on Halloween night haven't been kind to Laurie Strode (Curtis). Psychologically traumatized by his attack, the now sixty-something survivalist is twice divorced and estranged from her adult daughter, Karen (Judy Greer) who was removed from Laurie's care years ago when the state determined her overprotective, vigilante parenting methods crossed a line. Living in an isolated compound decked out with heavy artillery and security, she drinks a lot and obsessively prepares for Michael's potential return, waiting for the moment she can finally get her revenge.

Laurie's only lifeline is Karen's teen daughter Allyson (Andi Matichak), who, despite her mom's desire to shut the door in any relationship with Laurie, feels a connection to her grandmother. But the past returns in a big way when true-crime podcasters, Aaron Korey (Jefferson Hall) and Dana Haines (Rhian Rees) arrive at Warren County Smith's Grove's Sanitarium to visit Michael before he's transferred to a new facility while under the care of his long-time psychiatrist, Dr. Ranbir Sartain (Haluk Bilginer). Seeing dollar signs in both exploiting and humanizing Michael, they plan to stage a reunion between him and Laurie under the guise of giving her "closure."  Laurie wants none of it, but may not have a choice when his transport bus crashes and he comes home. This time she's ready, but all three generations of Strode women will have to band together in order to defeat the embodiment of pure evil.

Aside from the spectacular opening title sequence that pays direct homage to the '78 original, but with a clever twist, the first half-hour of Green's picture is its weakest. This isn't to say it fails or even takes too long to get going, but rather that our entry point hinges on three unlikable characters we don't know and aren't particularly invested in. So even while the idea of introducing true-crime podcasters trying to drum up publicity and sympathy for Myers' cause is a timely one, something still feels off about the execution. Early on, we sniff out their only purpose in the story: Allowing Michael to reclaim his mask.

Similar claims can be leveled at the character of Dr. Sartain, who could easily be labeled as a poor man's Dr. Loomis until the full complexity of his motivations come into play. And even then, the unflattering comparisons to Loomis (whom he "studied" under) are inescapable. But at least leading off with the Sanitarium spares us enduring yet another "It's Halloween in Haddonfield. Will he show up?" opening. It also provides us the most visually arresting image of the entire film,a wide shot of the hospital's courtyard with patients lined up on what looks like a giant chess board, with a maskless Myers' back turned to his nervously approaching visitors. It works on many levels, including the obvious one, that these three are really only pawns in his game, one in which he'll soon be claiming new victims. 

Myers has had a lot of returns home to Haddonfield throughout the illustrious history of this franchise, but Green makes a number of different choices that stand out, resulting in the one of the stronger stretches of both physical and psychological suspense we've seen since the series' inception. While the killing starts early, Green recognizes, with one or two big exceptions, the need to not show us everything, leaving at least a little to the imagination. It's pretty much the opposite of Rob Zombie's gorefest, which worked to a certain point for the type of movie he made, for all the good and terrible that entails. But Green's more of a chameleon who can slip in and out of different styles and is capable of hiding a few tricks up his sleeve. The film's middle portion is a showcase for that, as he not only manages to hide some of the more tired genre tropes with visually interesting choices, but also slides in a few winks and nods for fans that make sense for this story without excluding more casual viewers.

The screenplay succeeds in getting back in touch with Michael as this random, undiscriminating killer, which seems to have fallen by the wayside in recent installments. It feels like Halloween night with the streets lined with kids everywhere as Myers just aimlessly walks on the streets and sidewalks and through the crowds scoping out houses. While more establishing shots of Haddonfield would have helped in establishing a greater sense of time and location (something the original had in spades), the newest generation of supporting characters are given suprisingly adequate development, unburdened with carrying the entire film on their shoulders like so many other unsuccessful entries horror entries. This time, most of the heavy-lifting is done by Curtis, who we know can handle it, and does.

Treating the assault she suffered 40 years ago at the hands of The Shape with the gravity and seriousness it deserves, Curtis is afforded the opportunity to add a dimension of reality to the character she originated that some of the goofier sequels prevented. H20 attempted this approach, but it's refined here. The hunted becomes the hunter, as years of buried trauma create this alcoholic, PTSD-suffering survivalist whose obsession with revenge ruins whatever relationship she could have with her own daughter.

Judy Greer's Karen has gone in the opposite direction, believing her mom to be a drunken kook, compartmentalizing her own childhood and choosing to instead see the world as all sunshine and rainbows. We know what will eventually occur to destroy that illusion, but it's hard not thinking this continues the streak of movies underutilizing Greer, with a role that exists primarily as a bridge for Laurie passing the torch to granddaughter Alysson. Still, it was smart making Curtis again the franchise's centerpiece and having her family's legacy be the orbit around which the story revolves. Nor does it hurt that the film inadvertantly walked into a cultural moment involving attack victims and survivors.        

In her first big screen role, Andi Matichak isn't yet called upon to be the "new Laurie" as Scout Taylor-Compton was in Zombie's reimagining, but acquits herself well as the smart, head-strong Allyson. She's caught in the middle of the family feud between her mom and grandmother and a sub-plot involving boyfriend Cameron (Dylan Arnold) that seems to come and go, despite his faint ties to the original film. Of course, she'll eventually come face-to-face with Michael and while Matichak's role isn't huge, she definitely leaves her mark, instilling some optimism in those wondering if she's capable of taking the wheel of the inevitable sequel(s). But it's the interactions with her friends that provide more of the film's meta social commentary, including a take on why anyone should still care about Michael Myers' crimes in a day and age where mass killings seem to occur every other minute.

Despite her biggest jump scare being spoiled by the trailer, Virginia Gardner also manages to leave a lasting impression as babysitter Vicky, briefly bringing charisma and personality to the most thankless of horror movie characters. Her verbal interplay with young Julian (Jibrail Nantambu), whom she watches, is such a highlight you wish there was more. But we're quickly brought back down to Earth and reminded that, yes, we're still just going through the motions of a requisite Halloween entry where characters exist solely to bolster the kill count or advance plot. Adult characters are even more disposable, treated as an afterthought with little or no development at all.Will Patton's Sheriff Hawkins has a very tangetial connection to the '78 killings that seems tossed in, while the great Toby Huss does what he can with the limited role of Karen's husband and Allyson's father, Ray.

Between nameless cops and bystanders, podcasters and a Dr. Loomis stand-in, there are a lot of superfulous characters whose chief narrative purpose is to get Michael to Laurie's safe house for the eventual showdown. But even with more plot than seemingly necessary, we're treated to some real flashes of brilliance along the way, including a suspenseful kill sequence involving motion sensors that's heightened by John Carpenter, Cody Carpenter and Daniel Davies' new score. Remaining faithful to the original while adding guitar flourishes that bring it into the modern era, this is the best Halloween's ever sounded. Directors scoring their own films was pretty rare in '78 so having Carpenter return to the studio alongside his two collaborators, not only feels and sounds like the right choice, but utilizes him for more than just his usual story or producing credit. And his work couldn't have turned out better, offering a welcome twist on one of cinema's most famous musical compositions.

Other call-backs are less obvious, like P.J. Soles' cameo as a teacher or the original Michael, Nick Castle, making an extremely brief apperance behind a mask now being occupied by actor/stuntman James Jude Courtney, who does Myers' justice in both movement and mannerisms. Every new film seems to spark a discussion about the mask, and this one looks good enough, appropriately reflecting the decades of age and wear you'd likely anticipate. If there's any problem with it it's that it bares almost too close a resemblance to Zombie's grungy version.

It's a testament to just how much this franchise has been through that even on the heels of a financially and creatively fulfilling sequel like this, it's still somewhat difficult to get excited for more. Jamie Lee Curtis returned as Laurie and faced off with Michael. Now what? The sequels following H20 all dealt with this conundrum and we've even seen the problem manifest itself in a non-horror capacity in the newest Star Wars series. It's tough finding that balance between the old and the new. Pleasing original fans while still attracting newer ones. No matter how many times you emphasize a fresh start they'll always be that temptation to lean back into the past, "come home" so to speak. It's a tricky balance that will only get trickier with each succeeding installment.

Halloween 2018 comes from a strange place in wanting to completely abandon and even occasionally send-up the films that came before, while remaining slavishly devoted to them at the same time, even going as far as to pay homage to certain scenes, story points and characters. In so far as translating those admittedly mixed signals in the screen, Green does as good a job as any current director could. Considering a trip back to Crystal Lake or even Elm Street would seem to hold more appeal and possibilities than yet another entry into this series, it all worked out. By reminding us of everything we've loved and loathed about the series, it pushes us forward us into the next chapter. And whatever that is, there's little doubt Michael Myers' legacy will remain at the center of it.