[31 Days of Horror: Resurrection] Day 31 – Halloween (2007)

Director: Rob Zombie
Cast: Scout Taylor-Compton, Malcolm McDowell, Tyler Mane, Sheri Moon Zombie, Brad Dourif, Danielle Harris, William Forsythe
Screenplay: Rob Zombie
109 mins. Rated R for strong brutal bloody violence and terror throughout, sexual content, graphic nudity and language.

We’ve reached the conclusion of another year of 31 Days of Horror, and I’m sad to see it end, but horror’s never far from this site, so you’ll see more. Today, as is traditional, we’ve reached the final day, and on Halloween, we talk Halloween. Looks like this year is a double-dip for Halloween installments and Rob Zombie (The Devil’s Rejects, The Lords of Salem) films, so let’s talk the much-maligned and baffling remake to John Carpenter’s original horror classic.

15 years after Michael Myers (Tyler Mane, X-Men, Troy) murdered three people, including his sister Judith, he breaks out of Smith’s Grove Sanitarium to return home and find his sister, now named Laurie Strode (Scout Taylor-Compton, An American Crime, The Runaways) and continue his roaring rampage of slaying. For the first time, we also see the events that led to that horrific first killing and Michael’s time at Smith’s Grove with Dr. Samuel Loomis (Malcolm McDowell, A Clockwork Orange, Bombshell).

After Halloween: Resurrection underperformed, there were a number of potential projects thrown about, including (but not limited to) a Michael vs. Pinhead crossover (following up on the precedent set by Freddy vs. Jason) and a prequel called Halloween: The Missing Years, about a young Michael Myers. The studio decided to take a traditional route in the era of excessive remakes with a more interesting director at the helm in Rob Zombie. Zombie had two films in mind, a prequel about the events leading up to the 1978 killings, and a more traditional remake, but these two ideas ended up merging into the finished film we ended up with. When Zombie asked Carpenter for his permission to remake the film, it has been reported that he was told to make the remake his own instead of something shot-for-shot.

Now, I’ve always been more of a fan of reboots and sequels over remakes. I happen to find that horror films get their most creative when they have to continue the story, but the Halloween chronology and mythology had gotten very confusing, so I understand the ask of a remake, and Zombie is a very unique choice as director. In recent years, though, I’ve become more open to starting over, having seen the James Bond franchise tackle this task as well as the Godzilla and Universal Horror characters get jump-started again and again for the next iteration. One thing I prefer in remakes is at least getting a unique voice in the director’s chair and pick the greatest hits of what works and what doesn’t in the previous series to streamline and reinvigorate the franchise for what comes next. That’s where Zombie wins here. He takes elements from the first two films that he likes and incorporates them into an interesting story, and he wins when he’s tackling new elements over when he’s hitting the familiar beats.

There are a lot of interesting directions taken in this remake, things that never could’ve been attempted in the previous iteration, and that keeps the film fresh. Looking at relationships like the one between Michael and Loomis, or the one between Ismael (Danny Trejo), which sees the brutality of Mane’s Michael in this new take. Zombie fought hard to keep Trejo’s death in the film, and I think it adds a lot of intensity to the narrative.

Where Zombie struggles is when his dialogue and characters feel plucked out of House of 1000 Corpses instead of a Halloween movie. That’s not to say this writing could’ve worked, but his execution behind the camera makes moments like Laurie sticking her finger into a bagel sexually or William Forsythe (Dick Tracy, Raising Arizona) threatening to skull-fuck someone incapable of landing as intended. It’s that chicken-fried grease that just never felt natural to the proceedings. It almost makes me pine for Zombie’s take on a Friday the 13th film instead, and his Michael seems more influenced by Jason Voorhees at times.

Halloween does have some standout performances, though, primarily with the inspired casting of Malcolm McDowell as Sam Loomis, Brad Dourif (The Lord of the Rings: The Two Towers, One Flew Over the Cuckoo’s Nest) as Sheriff Brackett, and Tyler Mane’s take on Michael. All three performances become something new, interesting, and alternative to what’s come before, and each one earns an iconic status within the franchise.

I’ve never understand the complete hate of Rob Zombie’s Halloween. It’s a flawed film, and some aging to the finished product has been less kind, but I still really appreciate Zombie swinging for the fences and trying to evolve the mythos in order to keep it alive. More than anything, I’m surprised that the finished film works at all, hearing all the behind-the-scenes difficulties of working with the Weinsteins and the Akkads to deliver this with Zombie’s vision. It’s one of the longest Halloween films (the director’s cut is the longest Halloween movie of all) which may weigh on some, but I’m still a fan.

3.5/5
-Kyle A. Goethe

For my review of Rob Zombie’s House of 1000 Corpses, click here.
For my review of Rob Zombie’s The Lords of Salem, click here.

[31 Days of Horror: Resurrection] Day 29 – House of 1000 Corpses (2003)

Director: Rob Zombie
Cast: Sid Haig, Bill Moseley, Sheri Moon Zombie, Karen Black
Screenplay: Rob Zombie
89 mins. Rated R for strong, sadistic violence/gore, sexuality and language.

Rob Zombie (Halloween, The Lords of Salem) had a good thing going with his music career when he was offered the chance to help design a haunted attraction for Universal Studios. This work helped to get Universal Horror Nights back up and going after a long hiatus for the theme park’s October attractions, and it also inspired Zombie to attempt a first feature film. That’s at least how the legend goes. Well, no matter what you think of Zombie and his directing career, you have to give him credit for helping bring Universal Horror Nights back.

It’s Halloween Eve 1977, and a group of cross-country youths, in search of unique roadside attractions, come across a gas station/horror museum/fried chicken joint run by Captain Spaulding (Sid Haig, Kill Bill vol. 2, Jackie Brown). Upon hearing the legend of Dr. Satan, a sadistic psycho who was hanged nearby, they plan a route to find the hanging tree, but they are stopped by a flat tire. They end up following a hitchhiker back to her home where her family is taking part in unusual Halloween traditions. As the night progresses, it becomes clear that this family has no intention of letting the youths go free.

I had trepidations about seeing this film for the second time. I initially hated the film, and I was only convinced to watch the follow-up, The Devil’s Rejects (a movie I really enjoyed), because I was told how different it was from the original. While, on second viewing, the film does not become perfect, I was surprised by how much more I liked it. Zombie has often been seen as an imitator of Tobe Hooper, and he was definitely influenced by the acclaimed Texas horror maestro, but I see him as an extension (for better and worse) much like how Brian De Palma took elements of Alfred Hitchcock to their logical next step. That’s not to say that Zombie improves on Hooper, but like any artist, there’s a through-line that allows Zombie to put his voice into those influences. If Tobe Hooper was the chicken-fried horror master, then Zombie’s is more chicken grease. His is smuttier, angrier, meaner, and sloppier, and that will work for some and fail to resonate with others (Hooper himself praised the finished film). I’ve always leaned toward the former.

I was really taken with the tension and confusion elements of the narrative, as events cycled out of control for our heroes. Perhaps it’s the fact that, last time I saw the movie, The Office was not on television yet and we had not yet been blessed by Rainn Wilson as Dwight, but I really rooted for 3/4 of the youths (less love for the annoying character played by Chris Hardwicke), and I wanted to see the triumph, though internally I knew that it was not in the cards for this movie.

Zombie made a good call on his first feature, understand the hell that the MPAA puts on filmmakers, so he shot two versions of all violent sequences, one with more blood and gore, one with less. This helped him to push the film as far as he possibly could while still satisfying the studio. That keeps the gristle on this greasy film, and it was especially helpful as Zombie took his work-in-progress studio-hopping, as new regimes at some studios changed their minds on his grizzly film and others didn’t like Zombie’s vision.

The biggest problem with House of 1000 Corpses is the truly-annoying and nauseating cutaways, based on the Manson recordings. None of these cutaway video interview moments add anything of value to the narrative, and there’s a lot of the film’s worst moments (and Zombie’s worse tendencies) at play in these cutaways. I think the movie would better (and faster, more frenetic) without them.

House of 1000 Corpses is an acquired taste. I can understand anyone who loves it, and I totally get why someone would hate it. The movie’s aged much better than expected, though it still leaves a bit to be desired. It shows an early director swinging for the fences, and I can appreciate that above all else.

3/5
-Kyle A. Goethe

For my review of Rob Zombie’s The Lords of Salem, click here.

Kyle’s Top Ten Films of 2021

Well, last year was…a little better…right?

Hello again, everyone! We’ve reached the end of 2021 and it’s time, just like every year, to discuss the best in movies from last year. 2021 was an overall improvement of a year, and I also happened to see a lot more movies in 2021 than the year prior. In 2020, I think I saw 30 movies. 2021 was a lot closer to 90.

More than anything else, 2021 was the year I got to go back to the movies. To be honest, I wasn’t quite sure that would happen. This year, the theaters reopened (and had movies to show), and I got vaccinated. To be honest, it was tough for me to even consider going to the movies again once they reopened until I was vaccinated. That’s not me preaching to any of you; it’s more me saying that I didn’t think I could lose myself in the movie without thinking of COVID.

That means I missed seeing theater-worthy movies like Godzilla vs. Kong, but I was finally convinced it was time to return to the cinema for Spiral: From the Book of Saw was released. Saw was such an important franchise for me, I couldn’t miss it.

Yes, I finally went back to the theater in June, and I haven’t looked back. It’s been a really solid element in my mental health to be back at the cinema (I’ve stated many times that the theater has been a place of solace for me when the world becomes too much to handle). I’m not alone in this regard, as audiences flocked back to the theaters back in the 30s in the height of the Great Depression. Well, 2020 and its sequel were rather Greatly Depressing, and I used the theater as a tool. Great movies or terrible ones, it really didn’t matter.

All of that is a long way of telling you that I saw a great many movies, and I feel better talking my Top Ten Films of 2021. So let’s not waste any further time and get right into it.

Now, in order to properly begin, we have to state the obligatory forewarnings:

  • I did not see every film released in 2021. In fact, there are still a few films released very quietly in 2021 that many reviewers have not been able to see, like The Tragedy of Macbeth and Cyrano, and I am unable to include those films in my list. If you know of a film that belongs on this list but you don’t see it, it just means I didn’t see it…that, or it doesn’t belong on my list.
  • On that note, this is my subjective list, not yours, and not objective whatsoever. They are MY personal picks for best of the year. These are the films that spoke to me as a filmgoer. There are better made films that came out in 2021, and there are some films on this list that did not get Fresh on Rotten Tomatoes and quite a few that will miss the Academy’s selection process for Oscar-worthiness. They are MY picks and mine alone, so don’t be upset if a film is on your list that isn’t on mine. That’s the beauty of art and entertainment: we don’t have to love the same things to make them worthy.
  • Along with all that, I crave discussion, dissection, and (respectful) disagreements. So let me know by commenting below with your Top Ten Movies of 2021 (or just a list of favorites, especially if they aren’t on my list). I’d love to see what you loved last year.

Alright, without further adieu…

  1. The Sparks Brothers

-In less than 2 1/2 hours, Edgar Wright turned me, someone who had heard one Sparks song but couldn’t even connect it to the band, into a lifelong fan who spent his entire summer listening to the band as if he was trying to play catchup for time lost. His documentary is equal parts biography, concert film, and fever dream, and it all seems to work quite well. It’s also an incredibly watchable film, an entertaining instruction manual on first watch and a celebration of the band for those viewers who had discovered the incredibly prolific but under-appreciated musicians.

  1. Spencer

-Who would’ve guessed that the Princess Diana movie starring Kristen Stewart would end up being a horror-thriller Christmas film? Well, okay, it isn’t so exact as that, but this is a Christmas-set “biopic” that is less concerned with the details and minutiae of a life’s timeline and more set on a story that captures the character and person that Princess Diana was. Set during the last holiday season of her time involved with the royal family, the film sees Diana breaking apart at the seams while she struggles to maintain a strong face for the sake of the Crown. She’s there for her children, the one piece of her life in this world that still has good in it. I also have to credit the incredible performance of Kristen Stewart as Diana, a piece of acting prowess that captures her spirit and soul more than her mannerisms and speech patterns, but I was completely lost in her performance and never once doubted that I was seeing Diana on the screen. I would also be remiss if I did not mention the unsung actor from the film, Sean Harris as McGrady, the Royal Head Chef, and one of the best scenes of the year, in which McGrady confesses how the staff really feels about Diana, and don’t forget the single best needle-drop of the year as the film comes to a close.

  1. The Last Duel

-Ridley Scott dropped two bangers in 2021, and one of them ended up on this list. I didn’t have the highest hopes for The Last Duel because, for me, Ridley Scott can get a little divisive. Every film he makes, the film gods flip a coin. As bonkers as House of Gucci ended up, The Last Duel is an elegant and intense view at altered perspectives done in the style of Rashomon. I have minor faults with a few elements in the overall film, and I argue that “kids-on-their-phone” is so old man and silly. The reason that The Last Duel underperformed is that we are in the middle of a pandemic and many filmgoers are forced to make choices of what they want to watch. Several great films slipped between the cracks this year, and a movie that portrays a rape (not once, but twice, mind you) may not be the type of film that audiences wanted this year. That’s one of the factors why a film like Spider-Man: No Way Home did so well this year while bleaker fare like Nightmare Alley and The Last Duel struggled to find a presence. Beyond all that, though, the film is fantastic. It’s a tough sell to do a film that covers a painful and intense event from multiple viewpoints. You have to keep the film fresh while essentially telling the same story. Scott’s film teases us with the titular duel and then presents these views in a captivating way, and each retelling sought to alter the narrative in interesting ways.

  1. Dune

-I try not to hinge my thoughts on one film based upon another, but it’s nearly impossible to do so in the case of Dune, or Dune: Chapter One, or whatever it will eventually be called. We knew going into this film that it would be an adaptation of the first half of Frank Herbert’s epic science fiction novel, but we also went into it knowing that the second half of this story was uncertain. It’s a lot of baggage to carry for a single film, and that’s not even diving into the quality of the film itself. Well, Denis Villeneuve surprised us all yet again by turning the oft-believed-unfilmable novel into a science fiction masterpiece on the level of Star Wars and The Lord of the Rings. Well, potentially one day, but it’s a beautiful and elegant masterpiece of cinema nonetheless, but it needs to be stated that this is the first half, and it carries a level of understanding. Dune was not filmed back-to-back with its sequel like Back to the Future II & III or The Matrix Reloaded and Revolutions or even the previously mentioned epic production of The Lord of the Rings. Dune was also not handled like the recent 2-part It adaptation. With that film, had we not gotten It: Chapter Two, the first film would stand on its own. Dune: Chapter One hinges on that sequel more than any other two-parter that I can recall. Had that sequel not been announced, I’m not sure this film would be on this list, but it was announced, and it will (likely) happen. With all that, I can’t wait to see this story come to an end and rewatch the first film a bunch when it drops on home video.

  1. The Suicide Squad

-Okay, I trust James Gunn to make a solid and entertaining film, and I trust the recent moves of the DCEU (overall, I’ve been positive on most of the universe, but the recent stuff has been the best), but I didn’t expect nearly as entertaining a time as I got with The Suicide Squad. Early reviews were very positive, and when I finally caught the film at a press screening, I was initially worried the hype was too hyped. Nope, this is an excellent time at the movies, a mean-spirited and bonkers action film that has shades of gritty 70s action pictures. Essentially, Gunn has made a big-budget Troma film, and you can tell he’s having the time of his life with his characters. A more stacked cast than his previous Marvel films, he’s able to give each of his “Squad” a moment to shine. By shine, I’m referring to debauchery or sin, but you get what I mean. The Suicide Squad is a wild ride of entertainment that, dare I say it, is damn beautiful and makes me excited for Peacemaker later this month.

  1. Candyman

Candyman was the last new movie I saw in 2021, and I’m surprised to see it on this list. Don’t get me wrong, I liked the original film quite a bit, but I did not expect the hit on this legacy sequel just waiting for me to watch it. A little context for you: I’m big on franchises and I don’t like the idea of the legacy sequel (it feels lazy and oftentimes falls into the same pitfalls as the films it ignores), and the only reason I waited on Candyman 2021 was that I hadn’t watched Candyman: Farewell to the Flesh and Candyman: Day of the Dead, so last week, I binged the whole franchise, and I must say, this newest film is the best film in the series by a stretch. The clever screenplay, co-written by Jordan Peele, paired with the picture-perfect directing from Nia DeCosta (I can see why she was so quickly snatched up by Marvel). It’s a legacy sequel that chooses to build on the mythology in a way that doesn’t retcon anything that came before but instead decides to add and validate what came before while challenging the history of the series at large. It’s gorgeous, haunting, and thought-provoking to the very ambitious ending.

  1. Halloween Kills

-This is the part when everyone stops reading, so let me remind you that this is a subjective list, and I would be wrong not to put Halloween Kills on the list. I’ve said it before, but Halloween is my all-time favorite horror film, and I have a special place in my heart for the rest of the franchise, convoluted and deeply-flawed though they may be. For Halloween 2018, I was interested but, as stated above, I don’t like the retcon aspect. All that being said, I get why the rest of this franchise was retconned, as most audiences did not keep up with the mythology as much as I did, and trying to make sense of it all would’ve been a bit of work. Also, Laurie Strode was dead in the previous films. Well, I saw Halloween 2018, and it is easily the best-made film since the original, but I felt like it was more of a Greatest Hits album of Halloween, sending up a mashup of great scenes and references from the other non-canon entries, but really not doing a whole lot to distance itself. Well, I revisited Halloween 2018 right before Kills came out, in what amounted to a quick trilogy binge (1978/2018/Kills). Halloween Kills, while being less-polished than David Gordon Green’s previous film, is all the better for its ambition. Sure, it does tread some of the same waters and ideas, but it uses them in a wholly different way. Here, we see Haddonfield as a real town full of interesting characters (I love that many of the background characters of 2018 show up again in Kills), and it’s a town dealing with its trauma in an unhealthy way. This sequel speaks to the question of how we react to fear, and it pushes the Halloween story into delightfully bloody new directions while making its predecessor much better and more palatable as a chapter in Green’s story.

  1. The Green Knight

The Green Knight was a movie that almost seemed to not want me to watch it. It didn’t have a lengthy run at my local theater, and the weekend my wife and I had planned to see it ended up with me self-quarantining and getting tested for COVID because I was very sick. I ended up being negative but by the time I ended up feeling better, we didn’t have a free night to see it, so we missed its theatrical run. Thankfully, I ended up with a 4k copy of it, and I was actually able to watch it. Also thankfully, the movie is excellent. The way The Green Knight takes the classic fable and legend and reconfigures it to fit David Lowery’s filmmaking sensibilities and give us a Gawain who is essentially a hopeful hero without any heroic skills, a leader who only takes the killshot because he can, a man who cannot take responsibility for his actions and flees at the sight of danger. It’s also a technically stunning piece of medieval fantasy with terrific performances and a haunting visual aesthetic. If you missed it like I did, rectify that immediately.

  1. Belfast

-There’s an argument out there that Belfast is not as hard-hitting and serious as the events it is depicting require, and I can understand it. The reason the film works for me is that it’s not about those events specifically; it’s about the family at the center of it, specifically young Buddy (played by newcomer Jude Hill). Seeing these traumatic events through the eyes of a child was something very effective for me. For Buddy, everything going on in his world is strained through the filter of his family, and that’s all he wants. He wants things to go back to normal, he wants to stay in Belfast, he wants his life to go in the direction it has been up to now. That’s his reckoning in the film, and it’s a small story against a big backdrop, and it was a joyful (as joyful as it could be, given the surrounding political unrest of the time) coming-of-age story that I want to share with my family, friends, everyone.

  1. Shang-Chi and the Legend of the Ten Rings

-No, I’m not a Marvel fanboy saying it is better than everything ever made without discussion ever. The last time I had a Marvel film on my Top Ten, it was back in 2011 and it was Thor. If you look at my list, there’s a good number of acclaimed films in Oscar contention as well as some really entertaining popcorn movies. Shang-Chi is the best of both worlds, and if there were to be a superhero film in the Best Picture race, it would be Shang-Chi. The film has an important cultural touchstone, and it showcases a terrific starring turn from Simu Liu as the titular hero, but the film has so much more. It has a terrific friend/potential love interest in Awkwafina, and it has one of the MCU’s best villains in real Mandarin Xu Wenwu. The film has loads of excellently-choreographed action, nods to wuxia, and it plays off one of the MCU’s best arcs in the Mandarin, especially with how the character ties to Iron Man 3. I even find the finale to be much more than a CG mess that most superhero fare gets lost in. Shang-Chi ends with a bang, but it is character-driven all the way through. Gosh, I can’t wait for a sequel to this film. Shang-Chi and the Legend of the Ten Rings is all-around excellent, and it’s my favorite movie of 2021.

There you have it. My Top Ten Films of 2021. I’ve said my piece, now it’s time to say yours. What are your favorite movies of last year? Leave your favorites below! See you next year.

-Kyle A. Goethe

[31 Days of Horror Part VIII: Jason Takes Manhattan] Day 31 – Halloween: Resurrection (2002)

Director: Rick Rosenthal
Cast: Busta Rhymes, Bianca Kajlich, Thomas Ian Nicholas, Ryan Merriman, Sean Patrick Thomas, Tyra Banks, Jamie Lee Curtis, Brad Loree
Screenplay: Larry Brand, Sean Hood
94 mins. Rated R for strong violence, language, some sexuality and brief drug use.

Well, here we are again. It’s the end of the 31 Days of Horror, and I’m not sure what we can talk about. We finished the Halloween franchise last year with H20, Laurie Strode (Jamie Lee Curtis, True Lies, Freaky Friday) cut Michael Myers’s head off, and everything is fine now, so we have nothing to talk about because the story is over…wait, what? It’s not? Oh God…no.

It’s been three years since H20, and Laurie Strode made an awful mistake when she beheaded her brother, Michael Myers (Brad Loree). Turns out, she killed the wrong man, and now, institutionalized, she awaits his return. Meanwhile, Freddie Harris (Busta Rhymes, Narc, Breaking Point), a reality television creator, has gathered a bunch of attractive young people for a Halloween tour of Michael’s childhood home. He’s recruited Sara Moyer (Bianca Kajlich, Bring It On, 10 Things I Hate About You) and her two college friends for this internet experiment, but Michael is on the way home, and this welcome party is not ready for his rage.

Every franchise will inevitably have a low point, and Halloween: Resurrection is that low point for Michael Myers. Let’s start off with the opening, the reason for this film’s existence: the retcon of H20. I actually don’t hate this idea (thought I wish there were more foreshadowing in the previous film), but it’s the execution of this reveal that didn’t work that well. I don’t hate Michael’s return here, but if you are going to pull this twist off, you need to have a better movie following this opening or it’ll feel like you should’ve let Michael stay dead. In this case, considering the franchise got rebooted again right after Resurrection, they maybe should’ve not made this movie at all.

Let’s talk about the performance of Brad Loree as Michael Myers. This is Loree’s first and only time as Michael, and I just don’t think he had an understanding of Michael Myers. Part of it is the screenplay as well as the directing of Rick Rosenthal (Bad Boys, Drones) in his second Halloween helming, but Loree’s Myers does not work at all. He’s more in line with a portrayal of Jason Voorhees in this film (Kane Hodder was reportedly the stunt double for Loree, so this may not be too far off base, and Loree had reportedly tried out for Jason Voorhees in Freddy vs Jason). He walks into doors like a confused Roomba, eventually crashing through them at 5mph. He doesn’t seem to react to anything the way that this famous killer would. He gets smack-talk from Busta Rhymes and just takes it! He even gets electrocuted in the dick at one point.

Resurrection seems to set up Sara to be the next main girl of the series, but Kajlich is given very little to do in the movie. Not only is she incapable of screaming (a must if you wish to take over as a scream queen). It’s not that she’s unlikable, but she isn’t captivating.

The rest of the cast is given little of value to do, but the most disappointing of the cast is Busta Rhymes and Tyra Banks (Coyote Ugly, Tropic Thunder) as Freddie and Nora, the leaders of this expedition into Myers’s home. Busta Rhymes feels so out of place, he’s unlikable, and his performance is more self-parody than anything serious or exciting. You’d be hard-pressed to even remember that Tyra Banks is in the finished film except that she’s on the poster. These two are just heavy reminders that Rosenthal’s production just isn’t taking Halloween seriously. Nothing is scary, nothing is tense, nothing is tonally acceptable.

Something else I wouldn’t mind is this found-footage angle, ahead of its time but ultimately underutilized in the film. Nothing much happens for the first hour and I didn’t much care by the time the ending came around. I was one of the excited people when the discussion of a found-footage Friday the 13th was hotly discussed, and, had it been done right, I would’ve been all for it here, but again, there’s a lack of care.

I won’t dive too much into it, but the ending is also a loss. If you’re going to have the kickass ending of H20, and you decide to retcon it, you better have a DAMN good ending to follow it up, and this movie, like this timeline of the franchise, goes out with, not a BANG, but a whimper.

Jamie Lee Curtis later admitted that she considered this movie to be a joke, and series creator John Carpenter cringed at the thought of it (but he did get paid), but Halloween: Resurrection exists. Thankfully, those that hate this installment can very easily not watch it, as it doesn’t have much bearing on the previous installments, and H20 is an ultimately better ending for everyone involved. As it stands, this is the worst in the franchise and a very disappointing installment, essentially neutering every character arc and sending the franchise into a death spiral. Diehard fans should try it, but all others need not apply. You can skip Resurrection. I sometimes wish I had.

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.
  • For my review of Dominique Othenin-Girard’s Halloween 5: The Revenge of Michael Myers, click here.
  • For my review of Joe Chappelle’s Halloween: The Curse of Michael Myers, click here.
  • For my review of Steve Miner’s Halloween H20: 20 Years Later, click here.

[31 Days of Horror Part VIII: Jason Takes Manhattan] Day 25 – Halloweentown (1998)

Director: Duwayne Dunham
Cast: Debbie Reynolds, Kimberly J. Brown, Judith Hoag, Joey Zimmerman, Emily Roeske
Screenplay: Jon Cooksey, Ali Marie Matheson
84 mins. Rated TV-G.

I’ll be honest. I didn’t watch Halloweentown as a kid. I lived in a part of the country where the Disney Channel was apparently part of some expensive cable package that my family just didn’t have. With that, I just didn’t grow up with Halloweentown. My wife did. Several of my friends did. I didn’t, so when Halloweentown comes up in conversation about best films to watch during this time of year, I don’t really have much to add. Well, I bought the first two films with the intention of watching them with my wife during the Halloween season, so let’s discuss this Disney Channel Original favorite.

Marnie Piper (Kimberly J. Brown, Bringing Down the House, Friendship!) is 13 years old, practically an adult in her own eyes, and yet, she’s never been able to take part in Halloween. Her younger siblings are the same way, and their mother, Gwen (Judith Hoag, Armageddon, Finding You) has never given a reason. It seems this year will be no different, but when Marnie’s grandmother, Aggie Cromwell (Debbie Reynolds, Singin’ in the Rain, In & Out), arrives for her yearly Halloween visit, Marnie learns the truth: she and her sister Sophie (Emily Roeske, 3 Ninjas: High Noon at Mega Mountain, Fell’s Redeemer) are both witches, and this is Marnie’s last year to begin training or her powers will be gone forever. She follows her grandmother home aboard a mystical bus, and they are whisked off to Halloweentown, a magical locale full of witches, warlocks, and humanoid creatures of all varieties. It seems like a wonderful place to Marnie, but there is danger brewing in Halloweentown, and her family is in grave danger.

Watching this film in my early 30s is perhaps not the right time to see it. Halloweentown feels to me like The Goonies: if you missed it when you were the target audience, it may be lost on you. I don’t want to completely hate on the film because in many ways it is similar to shows I grew up on like Goosebumps and Are You Afraid of the Dark? but without anything actually scary.

Debbie Reynolds is absolute magic as Aggie Cromwell. It seems that, if nothing else, she understood the assignment and infused the role with an enthusiasm rarely given to television movies in the 90s. Her time with bright and shiny Hollywood pictures would have led me to believe her to be “Bigger” than this movie, but she treats it with the same respect she would have given to any role, and that’s part of what makes her so emphatically entertaining in the role.

As for the children in the film, none of these performances are offensive, but all three of the Piper children are played with a We’re-in-a-Disney-Channel-movie-so-we-need-to-enunciate-in-a-way-that-makes-everything-light-and-bubbly-at-all-times-so-the-young-viewers-will-not-get-too-anxious-of-the-danger-we’re-in kind of performance. Perhaps believability was never possible in a film like this, but I was always invested in Harry Potter’s magical world for its characters and the danger they were in was palpable enough to allow me to enter their world.

I liked the aspect of Halloweentown that actually dived into the macabre specifically the flavor of the town and its people. I wish it were portrayed with a semblance of childlike fear, just enough to give a minute amount of spookiness to the finished product, but I liked the town and its various residents, particularly the unnerving skeletal taxi driver, Benny. As I said before, all of these characters within the town would have been even better if the film had any real scares, even as far as mood goes.

And that’s the film’s biggest problem for me. It’s not scary, and I know what you’ll say next. You’ll tell me that this is a kids movie and that it can’t be that scary for children, and you’ll tell me that nothing in it is meant to scare ME, but here’s the thing: this film is fearless. There’s nothing even remotely spooky going on in this movie. Let’s compare it to aforementioned Goosebumps and Are You Afraid of the Dark?, as I still watch both of these shows during the Halloween season for nostalgia and a bit of lighthearted amusement. Both shows cease to scare me, but they scared me quite a bit as a child, even someone like me who watched Halloween at age 4, who has grown up watching the Adult Horror from a young age. The scares in Goosebumps and Are You Afraid are mild, to be sure, but they are there, and they worked just enough on me as a child to get some thrills out of them and then wash myself clean of them after 30 minutes. I’m not asking for Halloweentown to be remade into a film like The Texas Chain Saw Massacre (but Disney, if that interests you, call me), but it’s extremely obvious that this film was not intended for even slight fear, which is odd because I figured putting a director like Duwayne Dunham (Now You See It…, Tiger Cruise) at the helm would be akin to a little bit of eerieness at the very least, as he had directed a couple episodes of Twin Peaks, a show that consistently delved into eerieness. Again, not asking for a Twin Peaks Halloweentown (but again, Disney, call me), but I want something, anything, to tell me that this wasn’t just a Christmastown movie reskinned with a Halloween aesthetic.

No, I didn’t hate Halloweentown, but I didn’t love it. I thought it was simply okay, a bit of a letdown for a film with such a fervant following (St. Helen’s, Oregon, where the film was made, has a month-long Spirit of Halloweentown festival every year), but I don’t think I’m the target audience for this anymore. Maybe I just missed the boat, but it’s my goal on this site to educate and give my opinion on any film, and I try to see every film through the intended lens. I ask myself, “What is this movie trying to be and is it successful?” It’s one of the first things I think about when I see a movie, and it’s as important to me as entertainment value. For me, Halloweentown is intended for children, and I feel like it works well enough at what it’s trying to be that I won’t hate on it. It’s just a movie that, even were I a young child, seeing it for the first time, I would’ve been “Meh” on it. It’s fine, it’s inoffensive, but you won’t ever see me choosing Halloweentown over the more solid Hocus Pocus in terms of family Halloween fare. That’s all.

2.5/5
-Kyle A. Goethe

[31 Days of Horror Part VIII: Jason Takes Manhattan] Day 7 – Daniel Isn’t Real (2019)

Director: Adam Egypt Mortimer
Cast: Miles Robbins, Patrick Schwarzenegger, Sasha Lane, Mary Stuart Masterson, Hannah Marks, Chukwudi Iwuji, Peter McRobbie
Screenplay: Adam Egypt Mortimer, Brian DeLeeuw
100 mins. Not Rated.

A colleague of mine, Nick Palodichuk from the St. Paul Filmcast, has been incessantly pushing me to watch Daniel Isn’t Real for months now, curious to see my reaction to the festival favorite that failed to make an impression on streaming services in 2019. I wasn’t exactly skirting the need to watch it, but I’ll be honest, it’s a terrible title for a movie, and I just didn’t feel the want to see it. Well, I finally took the time, and now here we are. So what did I think?

While struggling through mental health issues in his family, college freshman Luke (Miles Robbins, Blockers, Halloween) brings his old imaginary friend, Daniel (Patrick Schwarzenegger, Scouts Guide to the Zombie Apocalypse, The Benchwarmers), back to life. At first, Daniel gives Luke all the confidence he could ever want, but Luke soon discovers how difficult it is to Daniel away again, as Daniel decides he wants to stay free this time.

It seems that the divide among viewers with Daniel Isn’t Real is whether the “out there” stuff that is revealed as the film goes on work for some and fail for others. I’ll be the guy that says that the crazier this story got, the stronger the experience ended up being. I love when films take the initiative to try something new, and Daniel Isn’t Real plays with a mythology that is pretty engaging, albeit one that breaks its own rules occasionally.

The film has themes of Mental Illness that are fairly rote, but it shines with the way it portrays the primordial drive of toxic masculinity as a trait within our society that keeps taking over our bodies and pushes up to extremes in order to fit in. This is an interesting new idea and the way director/co-writer Adam Egypt Mortimer (Archenemy, Holidays) explores this theme with Daniel Isn’t Real was particularly effective.

Mortimer’s screenplay with Brian DeLeeuw (who wrote the original story In This Way I Was Saved) also effectively balances a questioning of reality layer that accomplishes this feat quite nicely, something most other films try but few are able to achieve. There were several times throughout when I questioned what was really happening, and oftentimes, where certain lesser scenes in the movie started to lose my interest, Mortimer would drop another clue that made me revisit my theories.

Unfortunately, the film also has some drawbacks. I was not terribly convinced by either Miles Robbins or Patrick Schwarzenegger in their respective roles. There are some strong performances in the film, particularly from Sasha Lane (American Honey, Hellboy) and Hannah Marks (After Everything, Accepted) as Cassie and Sophie, two potential romantic interests for Luke.

I also found a number of logic gaps in the film. I questioned the lossless motive of Daniel in the film. We find out just enough about Daniel to make us question why he’s doing anything he’s doing. What’s his motive in the story? Sex? Violence? What drives him in the narrative?

I also questioned Luke’s struggle to get rid of Daniel. Early on, we see a younger Luke mentally transport Daniel into a toy dollhouse and imprison him there for years. Yet, this idea never occurs to Luke throughout the film. We’re also told that the two cannot be separated, and Luke just believes this, even though we’ve seen evidence to the contrary.

The ending of the film is where these gaps in logic are most apparent, and it’s where the quality takes a bit of a nosedive in order to leave us questioning events and characters, and it just didn’t work, and instead I found Daniel Isn’t Real ending on a disappointing note.

Daniel Isn’t Real showcases a major talent in Adam Egypt Mortimer, and I’m excited to see more from this new filmmaker. The film is heavily flawed, but what works in the movie works very well, and his imagination is on display, even if it extends beyond his budget. It won’t work for everyone, but it’s worth checking out all the same.

3/5
-Kyle A. Goethe

Kyle’s Most Anticipated Films of 2021

2020 has come to an end, thankfully. Now, we must reckon with the rubble of 2020’s unreleased films and the evolving film landscape that we will be living in through at least the end of the year. Now, we don’t really know what movies are officially coming out this year. Many of the films on this list were supposed to come out last year, and they simply…didn’t. No matter. We will still get excited for what is on the way and celebrate the (possible) films of 2021 that I am clamoring to see. It’s the next best thing to actually seeing them.

Just a couple notes:

-This is my most anticipated, not what I think will be the best films of the year by any stretch. Most of the films that end up on my Top Ten at the end of the year are ones I might not even have heard of at this time.

-There are always a lot of blockbusters on these lists, because these are the films that are most often discussed in the months and sometimes years leading to their release. That’s just the way it works.

NOTE: THIS IS NOT A COUNTDOWN. IT’S JUST A LIST AND THE FILMS ARE LISTED BY THEIR (TENTATIVE) RELEASE DATE.

Well, we’ve waited a year to see some of these. Let’s not wait any further…

Godzilla vs. Kong

-Ugh, I’m so sad that this is coming out before I’ll be vaccinated. I would really rather see this thing on the big screen, but I’ll have to settle for HBO Max. The wacky release off this and other WB films have taken a bit of the wind out of my sails, but these movies will need releases and the studios need to start making money to survive at this point. All the same, I’ve enjoyed all three entries in the MonsterVerse to varying degrees, and the choice to bring in Adam Wingard to direct this cinematic beatdown is a rather interesting one. There is so much setup, specifically from Kong: Skull Island and Godzilla: King of the Monsters that I can’t wait to see how it all comes together. Here’s hoping that Wingard and WB can pull this off as the MonsterVerse has seen diminishing returns on their cinematic universe and they need a win to keep this thing going.

No Time to Die

-I’m not entirely convinced that this will make the release date, but that doesn’t change my excitement. I don’t think many film fans are really remembering the caliber of talent to this next installment of the James Bond franchise. It’s expected to be the final outing of Daniel Craig, an actor considered in the upper echelon of Bond performers, and it also happens to have the stamp of a director like Cary Fukunaga, director of the entire first season of True Detective. This installment further builds on Spectre (a film I liked while acknowledging its faults) and where this Craig storyline has been building, and that trailer was excellent. I see nothing about this film that makes me nervous, and seeing that the studio has pushed it enough times for a stronger release window tells me that they think it’s pretty special too.

A Quiet Place Part II

-It’s frustrating that there are reviewers and general audience film-goers that have already seen A Quiet Place Part II. I believe I was even invited to a screening of it last March alongside Mulan, and I elected not to go because I was tired and it would be out in a week or to anyway. I have regrets. Still, I’m very excited to eventually see this movie, and this is another that I would rather see on the big screen because I still remember the experience of seeing the original film in a packed theater opening weekend. That extremely quiet theatrical experience was so strange and intense that I want that feeling back, and the idea that the sequel will address events both before and after the original, like a sci-fi/horror Godfather II, is very interesting.

Spiral: From the Book of Saw

-This is where I show my serious bias for horror. The Saw franchise has been incredibly near and dear to my heart since the first film came out, and I’m overjoyed that the franchise is getting started again with Spiral: From the Book of Saw, releasing (as of now) in May. The ninth film in this franchise shouldn’t be getting me as hyped as it is, but with the return of director Darren Lynn Bousman (who helmed 3 of the franchise’s sequels) and Chris Rock and Samuel L. Jackson leading the cast, how could I not be excited? Rock even helped to develop the story for the new film, being a big Saw fan, and the trailer was very interesting and unusual. There’s just so much mystery for me, a die-hard Saw fan, that I cannot wait to get back in a theater to see this one.

F9: The Fast Saga

-Justice for Han! This is another franchise that’s so stupid, and yet, I’m always looking to see what they do next. Each sequel seems to heighten the silliness while maintaining that cheesy emotional beat: FAMILY. Here’s the thing: what these films do, they do well. The entire franchise has become Grindhouse B-movies with a budget, and I continue to consume. The trailer for F9 did exactly what I wanted, psyching me up for a return to this weird group of characters, and this being one of the first pushes of 2020 means that I’ve been waiting extra long for the next installment. Bring it to me!

The Conjuring: The Devil Made Me Do It

-This sequel has a lot to live up to. The first two Conjuring films are almost certified classics of the horror genre at this point, and while James Wan is no longer directing the third installment (this one is helmed by Michael Chaves of The Curse of La Llorona), I’m still excited to see Vera Farmiga and Patrick Wilson returning as Lorraine and Ed Warren. Beyond the changes behind the camera, we’re also seeing a very different story in front of it. The first time demonic possession was used as a criminal defense in a court of law. To me, I’m feeling Exorcism of Emily Rose vibes from this one, and I’m hoping for a unique blend of courtroom drama and horror film, something that could prove to be difficult to pull off. I’m praying for this one, and I’m hoping to be able to catch it in a theater.

Ghostbusters: Afterlife

-The world deserves more Ghostbusters films. I grew up terrified of the ghosts and completely bought into the mythology and the fun characters that brought this franchise to life. I even enjoyed the most recent reboot, Ghostbusters: Answer the Call, with the exception that the film completely mishandled its marketing and misused these really stupid cameos from the original stars instead of just being a follow-up sequel. Well, that’s what we are getting with Afterlife. The film is being helmed by Jason Reitman, son of Ghostbusters director Ivan Reitman, and the trailer has its own unique tone while seemingly paying homage to what came before. I like the serious take on the action and I like the Stand by Me/Goonies take that is seemingly being placed on our new characters. I think it could be incredible, and I’m very excited to see what we have in store for us here.

Dune

Dune has always been the tough nut to crack for Hollywood. The Jodorowsky version never came to fruition, the Lynch version is strongly considered poor and difficult to access for casual viewers, and the miniseries just hasn’t aged well enough to see now. Here’s the difference between all those previous attempts and the current iteration: Denis Villeneuve has seemingly cracked a few tough nuts in his limited time in Hollywood. He’s successfully directed a sci-fi film that was nominated for Best Picture (Arrival) and he’s crafted a long-gestating sequel to success with a film that rivals the original (Blade Runner 2049). So far, he has a track record for difficult projects, and I have faith that he has crafted yet another interesting new vision. This is, yet again, another film I’m so excited to see but I really don’t want to watch this one at home. Dune, more than any other film this year, feels like a theatrical experience. I know, broken record here, but that’s how I feel and it hasn’t changed since I started writing this. Looking at this whole list, Dune is probably the most exciting film of the year.

Halloween Kills

-Rounding out this list is the sequel to the reboot of the original 1978 film Halloween. As much as I loathe the naming scheme of this new iteration of the Halloween franchise, I cannot deny that I am very excited to see where David Gordon Green and Danny McBride are taking the story in this two-part finale to the franchise (it’ll be back, but I feel like their notion is true to sticking to a finale). Now that the 2018 film has been done (basically a greatest hits of the various sequels with a much better handle behind the camera), we can move into uncharted territory, and that’s an exciting thing for a horror fan like myself who is unsure of the next time I’ll be seeing Jason Voorhees or Freddy Krueger on the big screen. Halloween has had so many timelines and permutations, but the original film is still my favorite horror movie of all time, so I’m in this to the end, and then long after.

The Matrix 4

-Wait, there’s one more, and I’m probably more excited for this one than you are! Back in 1999, I was not initially big on The Matrix. In fact, it wasn’t until I revisited the film in 2003 in preparation for the two sequels coming that year that I realized how terrific that original film is. Then, I saw the sequels, and I kid you not, I loved them both more than the original! From there, I became a huge fan of the Wachowskis. Speed Racer is one of my all-time favorite movies. Cloud Atlas is an astoundingly ambitious film that topped my “Best of” list for 2013 films. I even liked Jupiter Ascending (though I will admit that one is a bit of a mess). For me, the Wachowskis are some of my favorite filmmakers currently working, and I’m so excited to see this return to a familiar world that will hopefully have some more surprises in store.

So there you have it. 2021 is a long year, and we can only hope that we see half of these released, but maybe we’ll get more. For now, stay safe, sit back, and enjoy the year in film (in whatever form that takes).

-Kyle A. Goethe

[31 Days of Horror Part VII: The New Blood] Day 31 – Halloween H20: 20 Years Later (1998)

Director: Steve Miner

Cast: Jamie Lee Curtis, Adam Arkin, Michelle Williams, Adam Hann-Byrd, Jodi Lynn O’Keefe, John Hartnett, L.L. Cool J, Joseph Gordon Levitt, Janet Leigh

Screenplay: Robert Zappia, Matt Greenberg

86 mins. Rated R for terror violence/gore and language.

 

I grew up on Halloween. To this day, it’s still my favorite horror film of all time. There’s a lot of emotional connection for me, as Halloween is also one of my mother’s favorite scary movies and we would jump in and watch it every time we’d come across it on TV. It was a staple in our home year round, but most specifically during October. We also were fans of the rest of the sequels as well, but there was something special about the 1998 film Halloween H20. We were finally going to see a return to the franchise for Jamie Lee Curtis (True Lies, Knives Out) as Laurie Strode, something that we didn’t expect to see every again after the character was unceremoniously killed offscreen between Halloween 2 and Halloween 4: The Return of Michael Myers. All of a sudden, there was an excited fervor for me and my mother as we patiently awaited the new film. I think she deemed me too young to see it in the theater, but we caught it as soon as we could on home video, with our excitement at a fever pitch. The only question at that point would be whether or not the film would be worth the wait.

It’s been 20 years since Laurie Strode (Curtis) faced off against her brother Michael Myers on that fateful Halloween night. In that time, Strode has tried to move on with her life. She’s gone into hiding, adopted a new name and job (Keri Tate, the headmistress of Hillcrest Academy, a private boarding school), and aims to raise her son John (Josh Hartnett, Lucky Number Slevin, TV’s Die Hart) to be ready for the dangers of the world. John sees it a different way. He sees an overbearing mother living in the past unable to cope with the real world. John wants a normal life, and when he sees an opportunity to celebrate Halloween for the first time with his friends, he takes it. What neither Laurie nor John know is that Michael is still out there, and he’s finally found his sister. This Halloween night, he and Laurie are headed for a reunion and a confrontation that will test Strode to her very core.

There was and still is a lot of confusion surrounding the Halloween franchise, starting with the return of Laurie Strode in this film. Within the story of the franchise to this point, Laurie Strode died in a car crash sometime before the The Return of Michael Myers in 1988, and that story surrounded her daughter Jamie Lloyd. When we meet Laurie Strode in this film, there’s no mention of that daughter and we are instead introduced a son. Apparently, the reaction to The Curse of Michael Myers (the sixth film) and the introduction of a supernatural cult as a backstory for Michael Myers didn’t go over so well, and the idea of doing a straight sequel was trashed in favor of ignoring it altogether and refocusing on Laurie’s return to the franchise. An early draft of this film gave a secondary plot to Sarah (Jodi Lynn O’Keefe, She’s All That, TV’s Hit the Floor) who is fascinated by Michael Myers and Laurie Strode, digging into the history, learning of Jamie Lloyd and the previous events of the franchise, unaware that her school headmistress is Strode. This idea was deemed too convoluted and, I feel, also painted Laurie in a bad light considering the events that take place surrounding her daughter in the previous three films. We ended up with a film that neither retcons the previous entries nor references them outright, serving as a direct sequel to Halloween II. This would happen again to a larger degree with Halloween 2018.

H20 was definitely influenced by Scream and Dimension wanted to play off the success of a new franchise with Michael Myers, going so far as to throw out John Ottman’s score for the film and use chunks of Marco Beltrami’s Scream and Scream 2 score in H20. The result does lose a little bit of the tone that the Halloween franchise had cultivated to that point, but the direction from Steve Miner (Warlock, Private Valentine: Blonde & Dangerous), who at that point had already helmed two installments of the Friday the 13th franchise, and the story shepherding by Kevin Williamson help to bring Halloween into the modern realm of horror. The film feels fresh, biting, and dark without losing any steam, and the tight run time (the shortest of any Halloween film in the franchise) keeps the adrenaline pumping while covering a lot of ground. H20 also contains one of the most shocking finales of the franchise.

I also want to make a point of applauding Jamie Lee Curtis on her performance. Curtis created this character back in 1978, made it her own, and yet, she feels right at home slipping back into the role of Laurie. You can say that the character is essentially just Jamie because of how early in her career she first played the teenage babysitter, and you wouldn’t be wrong in that way. I see a lot of Sylvester Stallone in Rocky Balboa as well. Jamie Lee Curtis and Laurie Strode are synonymous with each other in the same way that Harrison Ford is with both Han Solo and Indiana Jones. Still, there’s something really feral about the way Curtis plays Strode here, a woman who has been living in fear up to this point who elects not to take it anymore. She’s decides to stop running, stop hiding, and face her enemy on her own terms. It’s an excellent performance.

The rest of the cast does quite nicely here as well. I really like Adam Arkin (A Serious Man, TV’s Chicago Hope) as Will Brennan, Laurie’s love interest. Hartnett holds his own here as well in an early role, playing nicely off of Curtis. We also get early work from Michelle Williams (Blue Valentine, TV’s Fosse/Verdon) and a nice cameo appearance from Curtis’s mother, Janet Leigh (Psycho, The Manchurian Candidate). Hell, even L.L. Cool J (Deep Blue Sea, TV’s NCIS: Los Angeles) isn’t terrible as Ronny, the school’s security guard with a dream of being a writer.

Yeah, that’s great and everything, but is the film scary? Is it entertaining? Is it fun? I would say absolutely. Not to appear like I’m trying to be macho, I’m not usually scared much in movies anymore, but I find this installment of the Halloween franchise to be thrilling, exciting, unnerving (I specifically remember being terrified as child by something in the first ten minutes of the movie), and entertaining. That’s all this movie is aiming for, and I feel it succeeds.

I wish movies would stop ignoring their mythology. I hate seeing retcons and requels and all that, but when it is done well, I can certainly appreciate it. I don’t like that Halloween H20 decided to ignore several sequels, but hands down the film is entertaining, aided by the triumphant return of Jamie Lee Curtis to the role she made famous 20 years earlier, and directed finely by Steve Miner, who just doesn’t get the credit he deserves as a filmmaker (though he did make Soul Man, so maybe that’s on him). H20 was, simply put, the best film in the franchise since the original, and though I’m not sure it still is, I can commend it on being a thoroughly enjoyable little horror movie. This one is still worth your time.

Happy Halloween, everyone.

 

4/5

-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.
  • For my review of Dominique Othenin-Girard’s Halloween 5: The Revenge of Michael Myers, click here.
  • For my review of Joe Chappelle’s Halloween: The Curse of Michael Myers, click here.
  • For my review of Steve Miner’s Friday the 13th Part 2, click here.
  • For my review of Steve Miner’s Friday the 13th Part III, click here.
  • For my review of Steve Miner’s House, click here.

[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.

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