‘Halloween’ — Old Tricks, New Treat

“40 years ago, on Halloween night, Michael Myers murdered three people,” Laurie Strode (Jamie Lee Curtis) says. The old Michael Myers was an amateur. Now, in David Gordon Green’s “Halloween,” the silent killer is back, deadlier and scarier than ever. Not only does the film successfully reboot a series that has suffered for years from a series of lackluster entries, but it also stands on its own as being one of the better horror movies to be released in several years.

Ignoring the nine sequels and two attempted reboots, “Halloween” (2018) serves as a direct sequel to the original 1978 film. In 1978, following his murder of three teenagers on Halloween night, Michael Myers (the serial killer, not the comedian) was apprehended and imprisoned in a mental institution, where he has remained for 40 years. Laurie Strode, the only teenager to have battled Michael and escaped, has been traumatized by her experience and has spent decades preparing herself and her family for the day that he might return. While being transported to another institution, the prison transport bus crashes, and Michael Myers arrives back in his hometown of Haddonfield, Illinois for a final confrontation with Laurie Strode.

There are a lot of things that this iteration of “Halloween” does correctly. Be it the likable main characters, the similarities between this film and the 1978 original, some excellent cinematic shots, or John Carpenter’s original haunting theme music, there is a lot to keep you invested. However, as a horror movie, there is one thing that is critical to a film’s efficacy: the feeling of fear and dread. For the first time in a long time, this film nails it. From the second Michael Myers arrives back in Haddonfield, each scene is packed with tension and suspense, for he could be around any corner, standing in any shadow, or hiding in any room. Additionally, there is no doubt as to what Michael Myers’ intentions are. If he catches someone, they are dead. Michael’s constant presence and inescapable intentions, make for some incredible moments in the film, especially during the exciting, heart-pounding finale.

The brilliance of the Michael Myers character exacerbates this fear. He is one of the most menacing horror movie villains, and his scariest features are the ones that are emphasized the most in this new adaptation. His classic Halloween mask is now dirty, more ragged, and scarred, much like the character himself. He remains as silent as ever, his breathing being one of the few indicators of his presence. And perhaps most effectively, he never rapidly pursues his victims. He walks at a calm pace, never in a hurry to catch them. Yet almost certainly, he will.

Still, despite the iconic nature of Michael Myers, he is only one of several amazing characters that bring the film to life. An unexpected gem is Julian (Jibrail Nantambu), a small boy that is being babysat in a house that Michael invades. Nantambu is hilarious in the role and steals every scene he is in. However, the real star of the show is Jamie Lee Curtis reprising her role of Laurie Strode. Curtis is a phenomenal actress who perfectly encapsulates the character for which she has now become famous. Curtis’ ability to paint Laurie Strode as a strong, capable fighter while simultaneously highlighting her weaknesses and instabilities breathes life into the character.

Another strong feature of “Halloween” is its ability to thematically refer back to the original 1978 version while also differentiating itself and providing a new, unique take on the story. Many moments are direct call-backs to the original, including a nearly identical title sequence, which should thrill fans of the older film. However, knowledge of the original is not required to make this an enjoyable experience. While John Carpenter’s original, iconic theme is used to great effect, it is used infrequently in its original form, with different variations of it appearing throughout the film. Finally, and most interestingly, the dynamic between Laurie Strode and Michael Myers is completely flipped. Whereas in 1978 Laurie was the clear victim, in 2018, the lines are blurred. As Laurie thematically transitions from the hunted to the hunter, it becomes unclear who should be afraid of whom. It is thrilling to watch that dynamic play out during the course of the narrative.

Additionally, the cinematography strategically escalates the tension and fear by often focusing on what is happening offscreen, rather than on it. Few of the deaths happen onscreen, with the camera angled to miss the killing blow. The brutality and fear are still conveyed, as the camera focuses on the knife plunging over and over, but we miss the unnecessary gore that often accompanies it in similar films. Furthermore, when the camera does show the killing blow, it is shocking and highly effective. A truly impressive long-take is also used when Michael first returns to Haddonfield to begin his new killing spree. Watching his slow, methodical process begin over the course of several minutes with no cuts works well at highlighting the efficacy of his techniques as well as his robotic and unstoppable nature.

That being said, not everything about the film is great. The beginning gets off to a bit of a rocky start, with some clunky exposition and a bit of a ridiculous premise. Green spends a lot of time introducing characters, many of whom aren’t particularly interesting. Furthermore, the introduction of additional villains serves only to bog down the narrative and distract from the engrossing and horrifying phenomenon that is Michael Myers.

However, overlooking some of the film’s flaws, “Halloween” is a strong new entry in what was a tired series. With a frightening villain, interesting main characters, and a feeling of dread that pervades the entire film once Michael Myers returns, the new film reminds us, “There’s a reason we’re supposed to be afraid of [Halloween] night.”