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Halloween. 2007. Directed & Written by Rob Zombie; based on the original screenplay by John Carpenter & Debra Hill.
Starring Malcolm McDowell, Brad Dourif, Tyler Mane, Daeg Faerch, Sheri Moon Zombie, William Forsythe, Richard Lynch, Udo Kier, Clint Howard, Danny Trejo, Lew Temple, Tom Towles, Bill Moseley, & Leslie Easterbrook. Dimension Films/Nightfall Productions/Spectacle Entertainment Group/Trancas International Films/The Weinstein Company.
Rated 18A. 109 minutes.
I never imagined, listening to White Zombie in the ’90s, that Rob Zombie would go on to be one of my favourite horror directors working. He always appeared imaginative, but I couldn’t have guessed his love of the horror genre ran so deep. He’s given the keys to the slasher horror castle here, reinterpreting the original screenplay for Halloween in 1978 from John Carpenter and Debra Hill. Instead of providing lackluster jump scares and unnecessary gore to overcompensate, Zombie crafts a new vision of Michael Myers. No more is Myers so much a force of evil, like some wandering, unkillable spirit. Now, he is a boy with a face, a child not just hidden behind a mask, who eventually grows into his skin and becomes the ugliest, most vicious serial killer in America (well, the fictional one anyways).
Switch the subtle techniques of Carpenter for a throwback aesthetic mixed with gritty realism, and you’ve got Zombie’s film in a nutshell. Although many want to try and pick one over the other, they’re different movies, different stories centered around the same characters. You can say what you want. But for me, Carpenter and Zombie both have their merits. No matter if the original is my favourite, and a perfect piece of horror cinema, Zombie brings savagery to the table, plus an interesting style of directing. This makes it more than worth the watch.
Michael Myers (Daeg Faerch) is a young boy with a fairly awful life day to day. Although his mother Deborah (Sheri Moon Zombie) loves him, her sleazy boyfriend Ronnie White (William Forsythe) treats him like shit, all the while sizing up Debbie’s daughter Judith (Hanna Hall). At school, Michael gets pushed around and harassed, specifically about his mother being a stripper at a local club. But at home, alone, Michael dissects animals, getting blood all over his hands. Then once a kid at school finally pushes him over the edge, Michael beats him to death in the woods. The transition begins.
On Halloween night, Michael kills Ronnie, then Judith and her boyfriend. This shocks the town of Haddonfield. The law puts Michael in an institution, where Dr. Samuel Loomis (Malcolm McDowell) picks his brain to try and determine why evil lies in such a young mind. There’s also orderly Ismael Cruz (Danny Trejo) who talks to the boy often, trying to relate with him.
Only after 17 years go by, an older Michael gets a visit from a new, less friendly orderly by the name of Noel Kluggs (Lew Temple). He and his equally disgusting hillbilly cousin take advantage of having keys to the place. They rape a female patient after bringing her into Michael’s room, when Noel underestimates the now 27-year-old man. Michael kills the men and then begins on a path of destruction carrying him back towards Haddonfield, where his reign of terror is about to begin. As if it already hadn’t.
Love the metafictional quote from Dr. Loomis’ book. Like a post-modern version of Carpenter and Hill’s classic, early slasher. The whole character of Loomis is much different from that of Donald Pleasence’s version, and of course that’s mostly the way it’s written. In the original film(s), Loomis is an underrated psychiatrist whose knowledge of evil, and particularly that of Michael, is unparalleled. Here, McDowell’s Loomis is a good man initially. Then he morphs into a fame-seeking, fame-whoring doctor who made his fame and fortune off the dead corpses of a bunch of people in Haddonfield. He’s treated as such, too. So apart from the other liberties Zombie takes, or should I say aside from the expanded history Zombie creates, there’s this totally new role for Loomis, which I love. Pleasence is a classic, though, Loomis is a completely new beast under McDowell and I dig him, as well.
I don’t agree with the stance of people saying oh well we don’t want to see Michael Myers as a child, that’s the scary part. But wait a minute? Doesn’t the original Halloween, which I adore, start with that POV from the perspective of a young Michael? We already see that. Far as I’m concerned Zombie doesn’t really leap too far in reimagining Carpenter here. He takes what we’ve already seen, then elaborates largely. So yeah, maybe you don’t want to see the childhood of Michael completely played out, but the seeds were there in the original. So honestly, if Carpenter really wanted to keep his Myers as the almost supernatural, mythical Shape, then there’s no need to even show us the beginning of the child Michael; may as well jump right in. Not a criticism against him – I love that film, and it’s perfect. Period. That’s a criticism against those trying to rationalize their need for a theory on why Zombie shouldn’t have done it this way. For me, the best thing Zombie does here is humanize Michael. Because for all those people saying something is scarier about an unstoppable force of almost supernatural strength, I believe there’s nothing scarier than human evil, it never stops either. And personally, imagining Michael as a human killer, a kid who grew like weed out of hatred, is far more terrifying.
Carpenter wins overall, obviously. The techniques he used directing, some of those shots they achieved, plus the writing from him and Hill; everything in that movie is perfect. While Zombie’s film is not perfect, it wins on horror. There’s a more brutal aspect to this Halloween that hooks me in. It’ll never beat the quality of Carpenter’s original, but Zombie does a fine job crafting a gritty, raw remake. One of the better remakes that’s come out of the big Hollywood machine. Probably because Zombie isn’t exactly a Hollywood director, he just has the popularity to draw the Weinsteins and such. Regardless, this is miles better than the Friday the 13th and Nightmare on Elm Street remakes, and that glossed over Texas Chainsaw Michael Bay-produced affair.
As I’ve mentioned, there is a stern brutality to many of the kills in this remake. Part of why I still enjoyed some of the later Halloween sequels is due in large to the fact they started to up the pure strength of Michael. In one, he simply jams his thumb right through a victim’s forehead. After that, he became relentless in power. So even better that he’s a real humanized type killer here, coupled with the way he straight up just beats a few people to death. And I’m talking absolutely demolishing people. When he kills the orderly Noel, he repeatedly slams him against the concrete wall until blood starts to fly. It is a savage death. Then he drowns Danny Trejo’s character Ismael, which goes to show how brutal he is – no longer does Michael even care for people who show him any compassion. His heart is dead: “I was good to you, Mikey,” sputters Ismale while trying not to drown. Then a television gets dropped on the guy’s head. So if you didn’t already know this is a remorseless killer, he does not discriminate. Doesn’t matter who or what is in his way, not anymore. Since his mother died, the last of his humanity left, too. Lots of great kills after this, which Zombie captures in perfectly nasty fashion.
Some of my other favourite moments – the fight with Big Joe Grizzly (legendary Ken Foree) that is just pure unadulterated hypermasculinity, though oh-so-horror-good, and once more showcases that sickly strength in Myers; when Michael makes his way into the neighbourhood and goes mad on the young people it gets bloody and unruly; and when Michael goes to see the Strodes awhile before that, things are pretty rough, as well as creepy, and sad.
On top of everything there’s Scout Taylor-Compton in the old Jamie Curtis role. She does a solid job, as she’s cute and personable and she plays a nice good-girl, at the same time she’s got attitude and can be funny. Also, proper at showing fear. Danielle Harris is great, too, even if she doesn’t have a massive role; nice to see her back after the performances she gave as a child in a couple of the original movies. Then there’s a bunch of cameos, such as Ken Foree, Zombie alumni Bill Moseley, Sid Haig, Leslie Easterbrook, Sheri Moon Zombie (though hers is more than a cameo really), William Forsythe, Micky Dolenz of Monkees fame. Brad Dourif is awesome as the sheriff in all his scenes, too. Love seeing him anywhere, solid character actor.
All in all, I’m giving Zombie’s remake a 4&1/2-star rating. I don’t care, man. Dig it so hard. Lots of brutal violence in slasher tradition. Good, old school style filmmaking that both technique-wise and design-wise throws back to the 1970’s. But it’s the reinvention of Michael Myers and his story that draws me in consistently. I can always watch this, right alongside the original. And while I love Carpenter’s Halloween most, this one is a solid modern remake that gives us blood, thrills, and even some sly laughs.
Halloween: The Curse of Michael Myers a.k.a Halloween 6: The Curse of Michael Myers. Directed by Joe Chappelle. Screenplay by Daniel Farrands.
Starring Donald Pleasence, Paul Rudd, Marianne Hagan, Mitchell Ryan, Kim Darby, Bradford English, Keith Bogart, Mariah O’Brien, Leo Geter, J.C. Brandy, Devin Gardner, Susan Swift, and George P. Wilbur. Halloween VI Productions/Miramax/Nightfall/Trancas International Films. Rated R. 87 minutes.
Michael Myers (George P. Wilbur) and his niece Jamie were apparently swept away by a stranger from the Haddonfield Police Department. After six years, a teenage Jamie (J.C. Brandy) is pregnant. Her baby is born on Devil’s Night, the one previous to Halloween. There’s a sort of Druid style cult who takes the child. But a little later, a midwife helps Jamie and her baby get away. Though, Michael is still killing, never stopping.
Jamie gets away and tries to call into a Haddonfield radio station. The DJ ignores her as a ‘crazy’ instead of listening. At the same time, Dr. Samuel Loomis (Donald Pleasence), Dr. Terence Wynn (Mitch Ryan), as well as a grown up Tommy Doyle (Paul Rudd) hear her over the airwaves. She warns of Michael’s return.
Will the sleepy town of Haddonfield survive another 12 rounds with Muhammad Al-Michael?
Part of everyone’s problem with Halloween VI (that’s what I’ll call it if I reference the title from here on in) is the mythology behind Michael Myers. In the first film, while John Carpenter did instill The Shape with a certain amount of inherent, universal evil, there’s still a completely human aspect to Michael. Regardless how many times he survives death, no matter how impossible it has seemed up until now, Myers is a human. He is a damaged psychopath, driven by his own evil mind. Yet in this movie, as well as beginning in the last one, there’s a supernatural type aspect to his character starting to emerge. I don’t dig it. Honestly, if it were simply a cult worshiping Michael – like a sick serial killer fan club – I would’ve been way more into that. As I said, starting in Halloween V this supernatural stuff comes into play. Not a big fan, at all really. Because part of what I enjoy, or find scary I suppose, about Michael as a slasher villain is that he’s still compelling as a man; just a guy. Nothing against Freddy, or Jason, both of whom I enjoy a good deal. There’s simply a more terrifying aspect to a down to earth killer. Yes, again, there are some unreal aspects to Michael at times. Still, though, I always found him more effective as a true to life serial killing maniac.
On top of all that, there are a few points of the plot I don’t understand whatsoever – why would members of the Strode family ever live in the Myers house? I mean, isn’t that a sensible question to ask? Sure, the brother couldn’t sell, so the husband of this family took it. It still doesn’t make any sense to me why any member of the Strode family would move into that house. Unrealistic to imagine nobody before Loomis ever bothered to go mention it to someone in the family. It’s not a huge plot hole or anything. Just a nonsense bit of the screenplay, one of many, I find fairly ridiculous.
Something I do enjoy at least are the kill scenes. Even fairly simple ones, like when Debra Strode (Kim Darby) gets chopped. That’s actually one of the less gruesome kills of the series. Probably because of how it’s cut, the blood hitting those pristine white sheets on the line right after Michael takes a big golf swing with some sort of bladed weapon – the whole thing is effective, and dare I say fun. Good splash of blood to get things going back on the Myers home turf.
When John Strode (Bradford English) gets it, I’m always amazed at how nasty it gets – one second, Michael’s lifting the big dude up after stabbing him. Then onto the electrical panel he goes, before John’s head explodes into bits. I mean, are you kidding me? Takes anything wild that ever happened before in the Halloween series and surpasses it by a few notches. Not that it’s good, not at all. But wild, certainly. And it’s not cheesy, to my mind. It’s a well-done head explosion. Just in the context of Michael and his kills, crazy as they’ve been in the previous films, this one is a god damn doozy; out of control.
Overall, there’s just a lot of primeval brutality from Michael. Even in the way he stabs people. Then there’s the douchebag guy hosting that big event, his corpse gets put up in a tree with lights around it. Fairly grim, macabre stuff. I dig those things in a slasher horror movie. But aside from the slasher elements in the screenplay, the kills, there’s not a whole lot to admire about the writing in this one. The screenwriter, Daniel Farrands, did a great job with the adaptation of Jack Ketchum’s devastating novel (based on a true case) The Girl Next Door. I can’t say his writing abilities were on point in 1995 with this one, not in the slightest. There’s a ton of typical slasher trope-style material, to the point of nausea. If it weren’t for Joe Chappelle’s decent enough direction so many of the decent horror bits would never have come off as well as they manage to, so really Farrands’ script doesn’t do anyone justice. Now I know there were some major problems throughout development and filming, but still there’s nothing here suggesting his work was destined for greatness either way. Just the whole thing really stinks. Except, as I said, for a few truly good slasher scenes and deaths. Otherwise the whole movie would be completely useless.
So in this movie Paul Rudd is completely ridiculous. Honestly, he’s someone I’ve enjoyed as of late (haven’t seen his Marvel turn; not into superhero movies the past year or two). But back in this ’95 flick, he did some over-the-top nonsense. Not even in his mannerisms, I just feel like there’s a creepy factor to him; an unintended one. Yes, he’s meant to seem like a loner, all that. There’s something about the character of Tommy Doyle that ought to come across as loner-ish, definitely, but in the sense he’s lonely, not a creepy weirdo. And Rudd really does make him feel like a creeper, to me. It’s a weird performance.
Luckily, there’s Donald Pleasence. Even among all the shit, he still manages to do a fine job with the character of Dr. Loomis. In fact, this is probably his best performance as Loomis since Halloween II. Truly, I believe that. In the last couple of entries, I found Pleasence good. Though, there was a bit of hammy stuff starting to come out of him, which is great when called for. What I love about Loomis is his determined nature, his stubborn headed-ness in the face of Michael’s eternal evil. Back comes this aspect of him, a more subtle and restrained performance from Pleasence. It’s a treat to see in a fairly dreary movie, we actually don’t get as much as we should. Part of the entire overlapping problem of this film – it moves further and further away from most of the things which make the series, and Michael in particular, so damn great.
In all, I can give this movie a 2 star rating and not feel bad about it. Those stars are entirely earned through blood and Donald Pleasence. If you’ve frequented this site before, or look up at the top of my page’s screen, you’ll figure out I’m a fan of the Halloween series. There are a few real awesome slasher movies out of the lot, plus Halloween III: Season of the Witch with its own incredibly weird/neat vibe. Then we get a couple mediocre efforts, capped off with a few abysmal entries; this being one in the latter category. Even the music in this one isn’t up to par with any of the mediocre Halloween movies. If you’re a completist, watch this one. If not don’t bother – the next sequel undoes all the nonsense conjured up in this one concerning the Thorn cult, or whatever. You won’t regret seeing it, though, you won’t regret not seeing it either. Your choice. A rainy day might be best for this one.