MOVIE REVIEW: Jamie Lee Curtis stars in her umpteenth (and presumably final) face-off with a retirement-age Michael Myers, 44 years after their first encounter.
mimicked the clean scope compositions and general economic plotting of John Carpenter’s classic. Last year’s Halloween Kills relegated Laurie Strode to a hospital bed and kept her out of much of the action, just like the originaldid. And now the capper of this new trilogy from the David Gordon Green and Danny McBride creative team,in a very particular way: Michael Myers is not in this movie.
Okay, that’s not exactly true. Michael Myers is technically here, but fans may want to temper their expectations of how much of him they’re going to get. Really, this is not totally a movie about Michael, at least not the man himself. For the grand finale, the creative team seems to have split the difference between their first film’s reverence of the original and their second film’s themes about the infectious spread of evil.
It’s a sensible direction to go in some ways, but the script – written by four people, mind you – still finds a way to take sensible ideas and turn them into something inane and eye-roll-inducing. Picking up four years later, a major component of this story is new character Corey Cunningham , a pariah within Haddonfield after getting off seemingly scot-free from manslaughter.
Aside from that, at 111 minutes this thing really takes its time getting the ball rolling, and even once you get to the good stuff, you’re left with some pretty diminished returns. So much of this is pitifully dull and there’s not a single effective sequence of any sort of sustained tension. The craft is mostly there on a superficial level, but it’s missing the nervy, atmospheric foreboding magic thatis able to conjure when at its best.
What we’re left with is a plodding, pompous horror, only memorable for the ways that it completely drops the ball in sidelining its headliner to take a poor shot at turning this into a series about something oh-so-ever important. It’s just as silly as any of the original sequels and is maybe even more egregious given the inherent benefit of hindsight and the fact that this outing seems to think it’s outsmarting the formula.
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