Halloween (2018)

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The plot of the film is set in Hedonfield again and follows Lori Stroud (Jamie Lee Curtis), who has been trying to face Michael Myers for four decades, but does not have the courage to do so. Myers is in a psychiatric institution, and he will soon be transported to prison, where he will be for the rest of his life. Lori totally subordinated her life to security and preparation for a new eventual meeting with him, and that obsession affected her daughter, with whom she does not have a good relationship. Exactly forty years after the famous murders, Myers was given the opportunity to repeat them because, due to circumstances, he was released. Also, Lori gets a chance to finally face him…

Unlike the scripts in previous franchise films, which either wandered the timelines or tried to psycho-analyze the antagonist, the script in this film takes the cult of Michael Myers very seriously. There is no attempt to investigate his origin, to discover whether he is an incarnation of pure evil or mentally disturbed (in essence, he is both). Carpenter is a legendary filmmaker who perfectly understood how to present horror – he was not interested in Myers as a man at all, but concentrated on his terror and the fear it brings.

Following his example, the screenwriters present Myers as he was in the original, fascinatingly frightening, as a calculated predator who does everything slowly, and from that point of view, this is a very good sequel. It is in these movements, which are devoid of any haste, focused on what he wants to do, that is the greatest source of his creepiness – there were and will be slashers, but none has an antagonist who needs so little to be scary. We now follow him in the footage without a cut, as he finds the victim and the weapon and performs the act, and it is especially striking when we see him at one point and after that he just appears behind the victim.

Given that Carpenter’s original achieved so much fame, the screenwriters did not need to drastically change the story. A lot of segments from that film can be found here, such as Michael’s introduction or a car accident. The script itself is characteristic of slashers, with the authors devoting time to Lori and her traumas that have plagued her for four decades, and those traumas have destroyed all other aspects of her life. Also, there is the inevitable team of naive people, who are not aware of the danger that threatens them.

I did not have any high expectations from this film and he completely fulfilled them. The pace didn’t suit me a bit, because everything is quite fast, and after the first third, it is clear to everyone in which direction the story is going. Everything is set in an ending in which old acquaintances will clash, only this time Michael is not a killer for Lori in the classical sense, but more of a trauma he has to face before he destroys everything for her. A lot of it has been recycled, the characters make idiotic decisions and there are a few holes in the script, but slasher fans are already used to that.