Halloween Kills is a bloody mess and that is meant in the best of ways. Like the horror sequel is supposed to do, the body count is expected to mount, the character ensemble is expanded and most of all—our killer’s mission becomes crystal clear. Laurie Strode (Jamie Lee Curtis), everyone she cares about, including her daughter Karen (Judy Greer), granddaughter Allyson (Andi Matichak), and everyone else that gets in his way.
As Halloween concluded in 2018, Michael Myers was trapped in Laurie’s house as it burned like hell incarnate. She had been stabbed, bleeding profusely, and in the back of a truck with her daughter and granddaughter racing to a hospital. Meanwhile, the slow piercing sounds of fire engine sirens approached as all screamed, “No!” Sure enough, Michael emerged and massacred the first responders and Halloween Kills is off and running.
Police Officer Hawkins (Will Patton) has been stabbed as well, and he and Laurie share a hospital room as they recover. Meanwhile, Michael is doing what he does best—inflicting carnage on the town on the night of his calling, Halloween. No one is safe, particularly the Strode family. Laurie knows this and utters the first of many, “he dies tonight.” Yeah, sadly, that line or variations of that line is utilized repeatedly, softening its power just a tad. Still, we’re along for the ride and it is a ride.
Halloween Kills flies. The pace is frenetic and before you know it, there’s barely any time left in the picture. That is a good thing. Sadly, the dialogue from Halloween 2018’s, penned by Danny McBride, director David Gordon Green, and Scott Teems feels a tad phoned in. Then again, nobody is witnessing a horror franchise classic like Halloween to hear prose worthy of Shakespeare. It works, don’t get me wrong because it is all driving like a Mac truck towards something spectacular. Being that this is most likely a trilogy, don’t expect that fantastical and explosive conclusion to occur in Halloween Kills.
That may frustrate some. But it is typical of a middle chapter of a film series. There are merely a few examples of how the second chapter succeeds beyond the wildest dreams of their fans in the complete storytelling department—all while leaving a gaping hole for the third installment—and that is The Empire Strikes Back. Now, I would never lump Halloween and Star Wars in the same bag.
But there are some similarities here in how the plot and narrative move forward at breakneck speed, adding plot points, rich character development (and new characters—such as Anthony Michael Hall—that are three-dimensional) and all driving towards an explosive conclusion when that third (new) installment arrives. Also, in a stroke of genius, many of the 1978 original cast reprise their roles with aplomb.
Curtis is, as always, fantastic. Of course, she invented the role of Laurie Strode over 40 years ago. What’s terrific about the opening moments of Halloween Kills is we go back to 1978 for a spat and in so, a lot of foreshadowing washes over the current installment while reminding newbies how we get here. Curtis is fierce, commanding, and every bit the heroine as Sarah Connor and Ripley. Seriously, they should be the trifecta of badass women who take names. We should add Leia to that too, huh?!
The actress here is not only fighting her past demons, her current stalker who kills without remorse but also serving the maternal role of mother and grandmother. What is well written is how the creators of this second installment have created two female characters that accompany Curtis’ Strode in stature, power, and fierceness.
Greer is fantastic. She is every bit the daughter of Laurie Strode and at the same time, has her own issues with what is going on all around her. When she and her daughter become separated at one point, one can feel the palpable angst in her as she keenly knows what is out there and what it is capable of doing.
Green, as a director, knows this material inside and out and all involved on the creative side have done all they can with a (supposed) middle chapter that will all lead to the confrontation of all confrontations—something four decades in the making. I, for one, cannot wait.
For some, it may feel a bit unresolved. But that’s a middle chapter for you and in Halloween Kills it kills just enough to keep us hanging on.
Grade: B+