[31 Days of Horror Part VII: The New Blood] Day 19 – Christine (1983)

Director: John Carpenter
Cast: Keith Gordon, John Stockwell, Alexandra Paul, Robert Prosky, Harry Dean Stanton
Screenplay: Bill Phillips
110 mins. Rated R.

I’m not sure how many times I can say it, but here I go again. I love John Carpenter (The Thing, Halloween). He’s my favorite horror director. Also, I love Stephen King. He’s my favorite writer. Naturally, when I realized at a young age that John Carpenter had directed an adaptation of a Stephen King novel, I lost my fragile little mind. Then, I rode my bike to the video store to rent a copy. Let’s talk about this incredibly strange movie about a killer car and its love of a human.

Arnie Cunningham (Keith Gordon, All That Jazz, Dressed to Kill) is a loser. It’s his senior year, and his best friend, jock Dennis (John Stockwell, Top Gun, Eddie and the Cruisers) is doing his best to protect him from bullies like Buddy Repperton. Arnie needs something to give his life meaning, and when he comes across a 1958 Plymouth Fury that seems to call out to him. Arnie buys the beat-up bucket of bolts and begins fixing it up, seeing it as the first thing in his life that is uglier than he us, but at least he can do something about the car, which he names Christine. With Christine, Arnie finds a newfound confidence, but something isn’t right with the Plymouth, or Arnie. Dennis begins to see his friend change before him, and Arnie’s enemies are being picked off one-by-one. Christine loves her owner, perhaps a little too much.

The film adaptation was being prepped before the book was officially published. Producers had given a copy of the novel to Bill Phillips (Physical Evidence, Fire With Fire), who found himself taken by the “killer car” story and began working on the script. Carpenter had been working on a possible adaptation of another King novel, Firestarter, and when that didn’t work out, he took on Christine. Later in his career, Carpenter admitted that he didn’t really want to make Christine at the time, but it was good for his career, and I think that showcases how great of a filmmaker Carpenter is. If he doesn’t love the idea of making this movie but still churns out a top quality product like Christine, it’s a testament to his abilities.

Christine is amazing. I identified with Arnie’s struggles (I was never really as unpopular as he was, but I think a lot of us deal with confidence issues in high school). He’s obviously suffering with his place in the world. He doesn’t have a particularly strong relationship with his parents, he’s lonely, he needs direction, and Christine offers him some. His transformation is very much like possession or drug addiction in that the power he gains from his interactions with the car make him vengeful against all those that have wronged him in life. In fact, you can see that Arnie’s clothing choices regress to an older time period as his entanglement with Christine intensifies. It’s a great transformative performance that doesn’t get the love it deserves.

Without the chemistry between Gordon’s Arnie and Stockwell’s Dennis, though, the film wouldn’t work. These are two characters who have been lifelong friends now getting to a place where they are going in different directions in life, one a geek and the other a jock. Their commonalities are dwindling, and it’s a tough thing to accurately portray. These two do a tremendous job of reaching across that divide. Stockwell doesn’t get a ton to do early on in the film but watch and take note of Arnie’s changes, but he’s effective when he needs to be, and elements of his strain with Arnie broke my damn heart.

The other important character in the film is, of course, Christine herself. Now, the car doesn’t talk, and it doesn’t send out evil brain waves or mind control or anything that silly, but it’s still a killer car movie, so care needs to be given to make the car seem frightening. I think the screenplay in the very capable hands of an auteur like Carpenter works very well here. Through the use of older music and a very physically restrained performance where the Fury is given screen time to actually exist without just being a mindless murder device is why Christine is probably the best killer car movie, even compared to other King adaptations like Maximum Overdrive or Trucks. The car is convincing and scary. There, I said it.

Lastly, when you get a Carpenter direction, you almost always get a Carpenter score. Now, this time around the director worked with Alan Howarth on crafting the haunting bells of Christine, but I still vividly remember the score staying with me after each viewing (I’ve also seen this score performed live and it is breathtaking). The music has moments of sadness and longing on the part of Arnie, and a haunting synth predatory flavor when Christine is on the prowl. It’s a terrific score, one of Carpenter’s best.

Christine gets overlooked a lot in the oeuvre of Carpenter’s best films, and it’s too bad. It’s an effective horror movie that translates King’s lengthy novel quite well, saving the meat and cutting the fat where needed. Christine is aided by two standout leading performances and a creepy car prop that pops onscreen (seriously, who is Christine’s agent?). It’s tough to pick favorites for Carpenter when he’s done so many single films that many go to Halloween, The Thing, or Escape from New York, but Christine deserves to be in the conversation, if only for the tremendous feat of making a murder car work so damn well, and conveying that murder car’s emotion. Bravo.

4.5/5
-Kyle A. Goethe

  • For my review of John Carpenter’s Halloween, click here.
  • For my review of John Carpenter’s The Fog, click here.
  • For my review of John Carpenter’s The Thing, click here.
  • For my review of John Carpenter and Tobe Hooper’s Body Bags, click here.
  • For my review of John Carpenter’s In the Mouth of Madness, click here.
  • For my review of John Carpenter’s Village of the Damned, click here.

[#2020oscardeathrace] Knives Out (2019)

Director: Rian Johnson

Cast: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, Lakeith Stanfield, Katherine Langford, Jaeden Martell, Christopher Plummer

Screenplay: Rian Johnson

131 mins. Rated PG-13 for thematic elements including brief violence, some strong language, sexual references, and drug material.

  • Academy Award Nominee: Best Original Screenplay [PENDING]

 

When it was announced that writer/director Rian Johnson (Looper, Star Wars: The Last Jedi) would be making a murder mystery before returning to helm a trilogy of Star Wars films (I’m still convinced this will happen, but maybe it’s just my wanting), I was shocked but rather interested. After all, the subgenre of Agatha Christie-inspired murder mysteries had kind of dried in recent years outside of adaptations of her work like Murder on the Orient Express. Rian Johnson, who had dealt in the mystery genre several years earlier with Brick, seemed like the perfect choice to restart this once beloved subgenre, and I was all for it.

Famous crime novelist Harlan Thrombey (Christopher Plummer, Beginners, The Last Full Measure) is dead. The death has been ruled a suicide, but someone unknown has hired the last great sleuth, Benoit Blanc (Daniel Craig, Casino Royale, Logan Lucky) to investigate. It would seem that Harlan had no true friends within his family, and each of them has a motive strong enough to be a suspect, but just who did it? As lies are created and truths are uncovered, the family is turns on one another, and it’s up to Blanc to find the donut hole, the missing piece of the story.

Where to begin with this film? First off, we have to address Johnson’s tone for the film. It’s fun, sarcastic, stylish, and engaging. He sets most of the action in one location, Harlan’s mansion, a gorgeously-designed set that I just wanted to spend more time in. There are homages all throughout the mansion designed to invoke that classic mystery theme. Plus, it’s just a damn creepy house. Beyond that, the house and the characters residing in it feel real within the universe Johnson has constructed. The house feels lived-in. The characters feel like they have long lists of experiences to pull from. Everything fits, like puzzle pieces expertly placed to give a  clearer image and a staggering conclusion.

Daniel Craig leads the cast as Blanc with a truly molasses-mouth scene-chewing take on his character that is set to become iconic in years to come. His mannerisms, speech patterns, and physicality make Benoit Blanc a treat to be with, and that’s much like the mansion. I wanted to spend time with these characters. Not in the way that they are friendly, but in the way that they are fun to watch.

Each of the members of Thrombey’s extended family is like a slightly-damaged, partially-fractured chess piece arranged on a board, and Johnson is playing against himself. I was primarily taken with Ana de Armas (Blade Runner 2049, The Informer) as Marta, Harlan’s nurse, who feels alienated within the family even though they all claim that she’s a part of it. Then there is Harlan’s daughter Linda (Jamie Lee Curtis, True Lies, Halloween) and her husband Richard (Vault, TV’s Miami Vice), who play very well on their own but have a dynamite chemistry when put together.

In fact, the cast is pitch-perfect, and there’s no real time to talk about all of them, but I have to give a shout to Chris Evans (The Avengers, The Read Sea Diving Resort) as Ransom, Harlan’s grandson, the loud-mouthed privileged youth who obviously has no friends within the family. Evans plays against-type when compared to his decade as Captain America with Ransom, and it’s a welcome return to the smarmy roles he was once more well-known for.

If there’s a flaw in the film, and I do believe there is one for me, it’s that certain reveals in the film happen far earlier than I would have liked, and I think the mystery would have been stronger if we were kept wondering for longer. That, and I personally was able to see where it was going a little earlier than I would’ve liked. Perhaps I was just good at guessing, as I’ve spoken to others who did not see the end coming. My suggestion would be not to try and unravel the mystery, but instead, enjoy the journey, because it’s a damn good one.

Knives Out is an elegantly-constructed Whodunnit with incredible performances, great production design, and a director at the helm who really understands story and tone. This was enjoyable as hell and I cannot wait to see it again. Rian Johnson’s Knives Out comes highly recommended.

 

4.5/5

-Kyle A. Goethe

 

 

For my review of Rian Johnson’s Star Wars: Episode VIII – The Last Jedi, click here.

[31 Days of Horror Part VI: Jason Lives] Day 31 – Halloween: The Curse of Michael Myers (1995)

Director: Joe Chappelle

Cast: Donald Pleasence, Paul Rudd, Marianne Hagan, Mitchell Ryan

Screenplay: Daniel Farrands

87 mins. Rated R for strong horror violence, and some sexuality.

 

Well, it’s the end of October, and we find ourselves at the end of 31 Days of Horror. I’ve enjoyed it very much, and I hope you have as well. Like any October ending, we find ourselves at Halloween, and today we’ll be talking about The Curse of Michael Myers, the sixth and arguably most controversial in the series. Let’s get started.

It’s been six years since Jamie Lloyd, Michael Myers, and the Man in Black disappeared from Haddonfield, and Dr. Loomis (Donald Pleasence, The Great Escape, Fatal Frames) has very much retired, but his old friend from Smith’s Grove, Dr. Wynn (Mitchell Ryan, Gross Pointe Blank, TV’s Dharma & Greg), informs him that he has suggested Loomis as a replacement, and now the body of Jamie Lloyd has been found, and Tommy Doyle (Paul Rudd, Ant-Man, Between Two Ferns: The Movie), survivor of Michael’s killings from back in 1978, has discovered that Jamie had been pregnant and given birth, and MIchael’s after the baby, being the last-known family he has. Loomis, Tommy, and the baby must now contend with the dangerous Michael and the insidious Man in Black who both want the baby.

If you read that synopsis and you’re asking yourself, “Wait! Isn’t this supposed to be a Halloween movie?” then don’t worry. You are in the right place. Much like Jason Goes to Hell, Halloween: The Curse of Michael Myers was made to expand the mythology of Michael Myers by connecting all the previous films (minus Season of the Witch) and answer the questions that the previous film asked while forging a path for future sequels. Well, that’s a tall order, and it’s the most likely reason why this movie turned into such a bonkers disaster.

The screenplay, Frankensteined together but credited to just one writer, Daniel Farrands (The Amityville Murders, The Haunting of Sharon Tate), tried to give a good answer to the mysterious ending to Halloween 5, one that the writers of that film weren’t even sure of, and so the Cult of Thorn was established, a wacko group that protects Michael and helps him accomplish his task of murdering his family members. That’s probably the least-strange new element to the film. The mystery of the Man in Black is given here too, but you probably won’t care about the answer, and then there’s the whole maybe-possible-incest thing in the script that’s not just strange and gross but also really stupid, but hey, in the age of Game of Thrones, maybe this subplot works. Probably not.

Donald Pleasence does solid Loomis work again on his last film appearance as the character, and Paul Rudd’s debut performance is weird enough to fit the crazy plotline of this entry (though he’s still a bit much), but there isn’t much of what I’d call acting in the film. I can’t say I blame a lot of the actors, though, because they signed on for one movie and ended up making another, using a script that was referred to as incomprehensible.

There is a Producer’s Cut of the film that fixes some of the narrative problems but not all, compiled from footage that was shot and cut after a bad test screening, and it’s not a better version, just a different one. It also introduces more subplots that aren’t ever tied up. Safe to say that, no matter which version you see, it’s a mess of a film.

I cannot defend Halloween: The Curse of Michael Myers. As a child, it actually scared the hell out of me. It’s a more cruel version of Michael Myers, and for that, it affected me a lot as a kid, so I will say that part of me prefers this one to the fifth film, but they are both among the bottom of the barrel of the Halloween franchise. It’s sequels like this one that make that whole retcon thing that Halloween 2018 did make sense.

 

1.5/5

-Kyle A. Goethe

 

 

For more 31 Days of Horror, click here.

For my review of John Carpenter’s Halloween, click here.

For my review of Rick Rosenthal’s Halloween II, click here.

For my review of Tommy Lee Wallace’s Halloween III: Season of the Witch, click here.

For my review of Dwight H. Little’s Halloween 4: The Return of Michael Myers, click here.

For my review of Dominique Othenin-Girard’s Halloween 5: The Revenge of Michael Myers, click here.

[31 Days of Horror Part VI: Jason Lives] Day 25 – The Fog (1980)

Director: John Carpenter

Cast: Adrienne Barbeau, Jamie Lee Curtis, John Houseman, Janet Leigh, Hal Holbrook, Tom Atkins, Nancy Loomis

Screenplay: John Carpenter, Debra Hill

89 mins. Rated R.

 

This one does for fog what Jaws did for the water.

There’s a fog rolling into Antonio Bay on the eve of its 100th anniversary, and as soon as the clock strikes midnight, people start seeing strange things in it. Father Malone (Hal Holbrook, Into the Wild, Blackway) discovers an old journal in his church that tells him a terrible secret from the town’s inception, one that involves an old ship called the Elizabeth Dane and its captain, Blake. Now, the Elizabeth Dane has rolled into town on the fog, and its captain is out for vengeance. Radio DJ and lighthouse keeper Stevie Wayne (Adrienne Barbeau, Argo, Creepshow) is the only one who can warn the residents of Antonio Bay that danger is coming; she just hopes they’re listening.

The Fog is proof that director John Carpenter (Escape from New York, The Ward) can just about do anything. He has guys in costumes in a foggy atmosphere with glowing eyes, essentially just tall Jawas, and he makes them scarier than any current CGI could do (and we’re looking at you, 2005 remake to The Fog). It’s because he’s a smart filmmaker who solves problems. He knows that he is making a low-budget, possibly cheesy horror film, and so he chooses to shoot it in anamorphic widescreen Panavision in order to add to the grandeur of the gothically beautiful Antonio Bay layered in fog.

I like how separate Carpenter keeps things in this film. For the most part, Stevie Wayne barely shares the screen with anyone else. She gets her own slice of the story. Then, there’s the story of the hitchhiker Elizabeth (Jamie Lee Curtis, True Lies, Halloween) and Nick (Tom Atkins, Night of the Creeps, Drive Angry) as they try to uncover the mystery in the fog. Then, there’s the Father Malone sequences and the centennial sequences with Kathy (Janet Leigh, Psycho, The Manchurian Candidate) trying to keep the celebration together amidst the lingering danger. The film is filled with great characters in an insane situation. These individual “pocket stories” on their own would be great, but together they weave an eerie and creepy tapestry.

The Fog is truly brilliant. I can see why this is often called a Carpenter favorite. It’s a truly incredible little horror story that makes the ghosts (guys in costumes with glowing eyes) more terrifying than most other films could do with a bigger budget. John Carpenter is a horror maestro, and The Fog is just another master stroke.

 

5/5

-Kyle A. Goethe

 

 

For more 31 Days of Horror, click here.

For my review of John Carpenter’s Halloween, click here.

For my review of John Carpenter’s The Thing, click here.

For my review of John Carpenter and Tobe Hooper’s Body Bags, click here.

For my review of John Carpenter’s In the Mouth of Madness, click here.

For my review of John Carpenter’s Village of the Damned, click here.

Anthony Michael Hall Joins Halloween Kills as…Tommy Doyle?

Anthony Michael Hall, most well-known for appearing in The Dark Knight and The Breakfast Club, has joined the cast of the upcoming Halloween Kills.

As reported by Variety, Hall will be playing Tommy Doyle, a character known to fans of the original 1978 Halloween. Tommy Doyle was the boy Laurie Strode was babysitting on that horrific night when Michael Myers went on his killing spree. The last we saw of the character was in the now-decanonized Halloween: The Curse of Michael Myers, where he was portrayed as an adult by Paul Rudd.

As of right now, Hall is only listed as appearing in Halloween Kills, which is a smart move, considering this is a slasher series and not much is known about the size of the role. Personally, I see Halloween Kills and Halloween Ends as being a two-parter where Kills will end with some sort of a shock or a cliffhanger. For me, the death of Tommy Doyle could be that cliffhanger. That could be what sets in motion the events of this purported final chapter, and not knowing if he’ll be in the final film leaves him in danger for the film. I really hope more unique and interesting casting announcements continue to drop for Halloween Kills, and I hope that none of them list casting for Halloween Ends until after Kills comes out.

So what do you think? Is casting Anthony Michael Hall a good choice for Tommy Doyle in Halloween Kills? Let me know/Drop a comment below!

 

-Kyle A. Goethe

Scary Stories to Tell in the Dark (2019)

Director: André Øvredal

Cast: Zoe Colletti, Michael Garza, Gabriel Rush, Austin Abrams, Dean Norris, Gil Bellows, Lorraine Toussaint

Screenplay: Dan Hageman, Kevin Hageman, Guillermo del Toro

111 mins. Rated PG-13 for terror/violence, disturbing images, thematic elements, language including racial epithets, and brief sexual references.

 

I remember reading Scary Stories to Tell in the Dark. I had all three books, and I vividly recall the striking imagery. It was one of those first experiences that attributed to my love of horror, alongside watching Halloween with my mother when I was four and the Goosebumps book series from R.L. Stine. It was a pivotal part in shaping my fascination with fear and the macabre as ways of telling real stories, and they were damn entertaining too. Now, producer Guillermo del Toro, coming off his Oscar wins for The Shape of Water, is bringing us the film adaptation of this classic book trilogy with director André Øvredal (Trollhunter, The Autopsy of Jane Doe) behind the camera.

The story begins on Halloween night 1968, with Stella (Zoe Colletti, Annie, Skin) and her friends, Auggie (Gabriel Rush, Moonrise Kingdom, The Grand Budapest Hotel) and Chuck, who discover an old book in the supposed haunted home of the Bellows family. This book contains several scary stories and a lot of empty pages too. Stella takes the book home and discovers that new stories are appearing in it. At the same time, each of the kids that stepped foot in the Bellows home is in a story being written, one that comes true. Now, Stella and her friends are running out of time to get the book back home and break the curse of Sarah Bellows and her book of scary stories before they become a part of it.

As with many anthology films, which Scary Stories loosely is, the individual stories are one piece, and the framing device another. Of the many scary stories featured in the film, I think they all work quite well. The creature design is pretty awesome, some visual treats I haven’t seen before, and I think they, for the most part, work really well.

The main problem with the movie is the framing device. The whole story of Sarah Bellows and the book of scary stories should work on the surface, and it adds a nice layer of tone and flavor to the 1960s setting. The problem is that the framing device isn’t as strongly written as the stories that appear within the film, and this main plot of Stella and her friends is given far too much of the runtime of the film. It easily could have been cut about 20 minutes to streamline the plot more.

I also didn’t connect with Stella very much. She is a little flatly-written, and I was far more interested in the secondary characters like Auggie and Chuck as well as archetypal bully Tommy (Austin Abrams, Paper Towns, Brad’s Status).

For the problems with the screenplay, Øvredal does a great job with direction, setting tone and mood down to perfectly encapsulate the feeling of reading the stories as a kid. The film reminded me of reading Goosebumps or watching the television series for Are You Afraid of the Dark? He crafted a creepy atmosphere oozing with unsettling imagery. Much like The House with a Clock in its Walls from last year, this is a kid’s horror film that doesn’t shy away from some truly haunting imagery. Whereas The House with a Clock is closer to a Hocus Pocus, Scary Stories almost aims for It or The Monster Squad, definitely something more adult than I expected. I would caution potential viewers by saying the film has some disturbing elements, but all the same, this is exactly the kind of movie experience that adolescent Kyle would have been all over.

Scary Stories to Tell in the Dark is a winning horror experience. While the film struggles in building new mythology and setting the framing device into play, it mostly wins with the actual scary stories. It was a hellishly fun viewing experience that perfectly sets up more stories to come. Hopefully the filmmakers can course-correct some of the problems of the film for a sequel should one arise. I still had a lot of fun and would urge filmgoers looking for a nostalgic horror throwback to check this one out.

 

3.5/5

-Kyle A. Goethe

David Gordon Green is Done with Halloween After Next Two Sequels

The Halloween franchise has survived more potential deaths than most of its cast of characters, most recently being resurrected by David Gordon Green and writing partner Danny McBride for Halloween 2018 last year, but with the announcement last week of two more sequels with Green at the helm, the director spoke to Collider about finishing the story he began between Michael Myers and Laurie Strode.

The two sequels, Halloween Kills and Halloween Ends, are set to release in 2020 and 2021, and will be a continuation of his Halloween 2018 reboot, which ignored all previous sequels to the 1978 original film.

Green told Collider, “They’re never done telling the Frankenstein story, and at this point, Michael Myers is a classic movie monster. But our Jamie Lee Curtis as Laurie Strode/Michael Myers saga will be done. The fun of it is also seeing it end, and knowing that it can. If you just keep trying to elongate it and milk it for all of the money, then that’s boring.”

Further on in the discussion, he discussed Halloween Ends as being his last contribution to the franchise, promising that the film will end in a satisfying finale.

Danny McBride recently spoke about their intent to do three films which tell a singular story following the original Halloween, so this is in line with what Green has stated.

For me, I happen to agree with this idea. I was never big on retconning the previous incarnations of Halloween in favor of a new timeline, but that’s the way it went, and I think if that’s the plan, make it a singular story that has an ending. The title Halloween Ends seems to confirm that, but what I will say is that if Green wants to ensure that his film is an ending, he had to do something none of the other Halloween films have ever been able to accomplish, which is a tall order going into these sequels.

What do you think? Is having a true ending the right way to go here, and do you think it can actually ever be a true ending without another sequel? Let me know/Drop a comment below!

 

-Kyle A. Goethe

[31 Days of Horror Part V: A New Beginning] Day 31 – Halloween 5: The Revenge of Michael Myers (1989)

Director: Dominique Othenin-Girard

Cast: Donald Pleasance, Danielle Harris, Ellie Cornell, Beau Starr, Wendy Kaplan, Tamara Glynn

Screenplay: Michael Jacobs, Dominique Othenin-Girard, Shem Bitterman

96 mins. Rated R.

 

After being essentially rebooted (before it was a thing) in 1988, the Halloween franchise appeared to be going strong again. So it’s a strange happening that, in 1989, the series died again, only to be bought up six years later. So what happened? Why did Halloween 5: The Revenge of Michael Myers effectively rekill the franchise? How did this happen? Let’s take a look.

After a horrific encounter one year ago, Jamie Lloyd (Danielle Harris, Don’t Tell Mom the Babysitter’s Dead, Victor Crowley) is now mute and living in a children’s hospital. Michael Myers, however, has escaped after falling down a mine shaft and falling into a coma, where a homeless man finds him and fixes him up. When Michael awakens, though, he again goes on a murderous rampage, all the while looking for niece Jamie.

There are a lot of reasons that Halloween 5 is responsible for rekilling the franchise. First and foremost, this fifth installment is the worst one of the five thus far. There are so many mistakes made, some large, some small, and the film just stumbles through these bad decisions.

Let’s start with the elephant in the room: the addition of the Man in Black. Throughout the film, we get glimpses of a mysterious man walking through Haddonfield, searching for Michael. We never get a real answer to what he is (until the sequel was forced to), and Don Shanks, who played Michael, also did a lot of work as the Man in Black. Here’s the thing: he was told that there was a possibility that the Man in Black was a relative to Michael, but as it turns out, the producers had no idea who the Man in Black really was! Was the intention to just figure out this major plot point later? Seriously? This was something that inevitably had to fixed in the sequel (and that explanation turned a lot of fans away and rekilled the rekilled franchise again), but even for this film, having this awkward character introduction and his eventual play into the main film’s story lead to an unsatisfying ending.

The look of Michael is really odd as well. A new version of the mask was created to fit Don Shanks’s head, and it really doesn’t look good at all. In fact, it’s flat-out awful looking and cheap at that. His look was further muddled by an accident in filming where Donald Pleasance (The Great Escape, Fatal Frames) hit Don Shanks with a 2×4 and broke his nose. The mask needed to be fixed to fit over a nose bandage. This made the thing look downright ridiculous and it’s pretty noticeable throughout the finished film.

As far as the actual film goes, most of the potential victims are downright unlikable, from Tina (Wendy Kaplan, Summer Dreams: The Story of the Beach Boys, The Labyrinth), teenage friend to Jamie, to Tina’s friend Samantha (Tamara Glynn, Daddy and Them, Life on the Flipside). You kind of want them dead.

The film is directed towards these attractive teenage potential victims instead of to Loomis, Jamie, and Rachel like it should. These characters are the heart of the story and they are where the interest lies. This ridiculous subplot about a mute Jamie doesn’t work, it just kind of annoys, which I don’t blame on Danielle Harris. She just isn’t given anything to do until the very end and it doesn’t amount of much of a character arc.

Halloween 5: The Revenge of Michael Myers takes all the good will of the previous installment and shatters it. It is universally disliked as a sequel by franchise fans, and it is partly responsible for the weird direction the series had to take to justify it. This is one I don’t usually pay much mind to, and I don’t think its a place for casual viewers to go.

 

1.5/5

-Kyle A. Goethe

 

 

For my review of John Carpenter’s Halloween, click here.

For my review of Rick Rosenthal’s Halloween II, click here.

For my review of Tommy Lee Wallace’s Halloween III: Season of the Witch, click here.

For my review of Dwight H. Little’s Halloween 4: The Return of Michael Myers, click here.

Get Out (2017)

Director: Jordan Peele

Cast: Daniel Kaluuya, Allison Williams, Bradley Whitford, Caleb Landry Jones, Stephen Root, Lakeith Stanfield, Catherine Keener

Screenplay: Jordan Peele

104 mins. Rated R for violence, bloody images, and language including sexual references.

 

Early in 2017, first-time director Jordan Peele released Get Out, a very well-received horror-thriller about race in present-day America. The film has been hotly discussed since February, and now that we are near the nominations for the Academy Awards, I thought it would be fun to look at one of the more interesting frontrunners for the big award.

Chris Washington (Daniel Kaluuya, Sicario, Kick-Ass 2) is a talented African-American man about to meet his girlfriend’s parents for the first time at their secluded homestead in the country. On the surface, Dean (Bradley Whitford, Megan Leavey, TV’s The West Wing) and Missy Armitage (Catherine Keener, Capote, The Croods) seem nice enough, but as the weekend goes on, Chris begins noticing strange behavior surrounding the Armitage parents and their odd houseguests. Soon, Chris uncovers exactly what’s going on, but is it too late to save himself?

Okay, so even if the rest of Get Out was terrible (thankfully that is not the case), the film would still be noted for its incredibly well-written screenplay, also from Peele. The nuances and symbolism that Peele employs almost endlessly are so perfectly-placed into the story’s framework so that none of the film feels forced as you peel back the layers.

Beyond all that, the performances are amazing and Peele proves himself to be an incredible first-time director well-worth the recognition he’s been given. From his pitch-perfect storytelling to the great work, particularly from Kaluuya, Allison Williams (College Musical, TV’s Girls) and Lakeith Stanfield (Short Term 12, Death Note). From most of the info coming out of the set, Peele created a great atmosphere on set, having a lot of fun with his cast and crew, and it shines through into the finished product.

Peele’s not afraid to take what he loves about a genre and roll with it. The opening of the film is very reminiscent of the single-shot opening of John Carpenter’s Halloween. The film is so packed with detail and content that there is even a class being taught at the University of California about the film’s impact.

Get Out is a film that only gets better with multiple viewings. I’ve now seen it many times and I’ve found something new each and every time. This is a film for fans of horror and newcomers to the genre. It’s made with care and dedication from a surprisingly strong first-time director. I can’t wait to see what Jordan Peele comes up with next.

 

4.5/5

-Kyle A. Goethe

 

 

For more Almighty Goatman,

[31 Days of Horror: The Final Chapter] Day 31 – Halloween 4: The Return of Michael Myers (1988)

Director: Dwight H. Little

Cast: Donald Pleasence, Ellie Cornell, Danielle Harris, Michael Pataki

Screenplay: Alan B. McElroy

88 mins. Rated R.

 

Well, here we are again. The end of the month and another installment in the Halloween franchise. As we come to an end of 31 Days of Horror, I just want to thank you all again for another awesome month, and as always I am open to your amazing feedback, so let me know what you want to see for future events here. As sad as I am that this is the last day of The Final Chapter, it is important to note that, in horror, the final chapter is never usually final for very long. Now, let’s look at Halloween 4: The Return of Michael Myers.

It’s been ten years since he came home on Halloween night, and now Laurie Strode’s daughter Jamie (Danielle Harris, See No Evil 2, TV’s The Wild Thornberrys) is living with a foster family after Laurie was killed in an accident. Jamie has been terrified of visions of a man with a white mask standing outside at night, but this is the first year she really wants to go trick-or-treating on Halloween, so she enlists sister Rachel (Ellie Cornell, House of the Dead, Reconciliation) to take her. There’s only one problem: Michael Myers has escaped from his holding and is returning to Haddonfield, and only Dr. Sam Loomis (Donald Pleasence, The Great Escape, Prince of Darkness), Michael’s old psychiatrist, can stop him.

Halloween 4 is a lot better than most people give it credit for. Sure, Jamie Lee Curtis does not return, but enlisting the young and very talented Danielle Harris to take the lead is an inspired choice. Director Dwight H. Little (Murder at 1600, TV’s Bones) researched Halloween in-depth to give it the full harvest feeling, and it radiates from the film. Halloween 4 feels like the continuation of Halloween II’s Samhain imagery just more fleshed out.

The issues in the film are apparent, though, in the many supporting roles that feel incomplete and poorly acted. At its core, there are fine performances, but there are far too many people that cannot hold their own scenes.

Then there are the issue of the film’s occasional reliance to fall back on its formula. It isn’t surprising at this point in a franchise to be losing the spark or originality, and Halloween 4 does suffer because of it.

Plotting aside, there are things to like in Halloween 4. It’s not a great film, but it is more watchable than other fourth installments. This is strictly for fans of the series, though, as Halloween 4 will be de-canonized next year with an upcoming reboot to the series. We fans have survived this before, and we will survive it again, but sadly, the Halloween franchise will take a hit. Enjoy this one while it’s still kind of canon.

 

3/5

-Kyle A. Goethe

 

 

For my review of John Carpenter’s Halloween, click here.

For my review of Rick Rosenthal’s Halloween II, click here.

For my review of Tommy Lee Wallace’s Halloween III: Season of the Witch, click here.

 

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