Twenty-five years ago, Halloween H20 did the legacy sequel thing long before, and better than, the recent trilogy by DavidGordonGreen.
Michael Myers is dead. If you believe that, we’ve got a boarded-up house in Haddonfield to sell you. Granted, Michael did look pretty dead by the end of last year’s Halloween Ends. David Gordon Green, in the closing chapter of his geriatric-killer trilogy, went to extreme lengths to convince the audience that there’s no possible way Myers, aka The Shape, aka The Boogeyman, could have survived what Laurie Strode did to his senior-citizen body.
Doing its own thing That’s not exactly conventional wisdom. The best thing generally said about H20 is that it’s not as embarrassing as some of the other Halloween sequels, the ones featuring Paul Rudd or Busta Rhymes. And yet there’s a certain integrity to the way the film goes about building a bookend to the story John Carpenter began back in 1978. H20 nods to the franchise’s past — with a scene of teenage Michelle Williams spotting Michael through a classroom window, with a Mr.
Though Carpenter was originally in talks to direct the movie, the gig eventually went instead to Steve Miner, who got his start doing a bloodier imitation of Halloween in the second and third Friday the 13th movies. So, not exactly a lateral move. But time has been kind to the meat-and-potatoes competence of Miner’s staging in H20, which has a certain straightforward effectiveness that borders on elegance.
In truth, H20 is rarely very scary. It can’t be — five other sequels had already diminished Michael’s power. But there is a resonance to its nostalgic thrills. When Laurie first sees her old stalker again in the distance, she opens and shuts her eyes, as if trying to wake up from a nightmare and banish him again. The movie is held together by a genuine dramatic interest in its heroine, in her middle-aged love life , and in her coping mechanisms.
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