“Evil dies tonight!” – Wildly optimistic and more than a little naive song from the citizens of Haddonfield, Illinois as they form a mob to go after Michael Myers.
For those of you who keep gore, I mean score, at home Michael Myers aka The Shape from the “Halloween” movies will celebrate his 64th birthday in a few days, but the relentless killer behind the white mask remains in remarkably good shape. I guess a firm appetite for destruction and cruel killings keeps one slim, trim and gloomy.
If there’s one thing the good people of Haddonfield, Illinois, should now know, it is that almost 60 years after 6-year-old Michael murdered his teenage sister Judith, 35 years after Michael committed a murder in the late 1970s. ‘s and just hours after wasting more than a dozen rooms, he’s turned into something else in the world, something almost unstoppable, something as powerful as a superhero villain. And yet, when a small, portly, escaped psychic patient resembling a careless Wallace Shawn wanders into a hospital where an unruly mob has gathered and the poor soul begins to sway around, the townspeople believe this guy is the evil entity that has created so much carnage and they start chasing him around as if they are in a bad “Frankenstein” sequel. Come on, mob!
It’s just one of the head-scratching, unintentional comic, ridiculous developments in the throbbing disappointment that is “Halloween Kills”, the sequel to the exciting and clever restart / sequel in 2018 that marked Jamie Lee Curtis’ return and was a direct sequel to the original from 1978. You can throw “Halloween II” and “Halloween III: Season of the Witch” and “Halloween H20” et al. Out, and consider this the third installment in this particular version of HCU (Haddonfield Cinematic Universe), with many recalls of the 1978 and 2018 films and a myriad of characters who were children back in the late 1970s and narrowly escaped Michael’s grip and now adults who are still haunted and want this embodiment of evil, you know, die once and for all.
Good luck with that.
“Halloween Kills” takes place in the wake of the 2018 film, in which Laurie Strode (Jamie Lee Curtis), her daughter Karen (Judy Greer) and her granddaughter Allyson (Andi Matichak) caught Michael Myers in a safe room in Laurie’s house and set the place on fire. . When Laurie is rushed to the hospital with a stab wound in the stomach, she sees fire trucks on their way home to her and shouts: “Noooo! Let it burn! “Alas, the emergency services arrive at the scene just in time for Michael to get up from the burning basement and systematically take them out, one by one – and he is once again released on the streets of Haddonfield on Halloween night, ready to poke, poke, poke, thump and kill everything in his path.
As Laurie (and thus the great Jamie Lee Curtis) is put on the sidelines at the hospital, “Halloween Kills” shifts focus to Tommy (Anthony Michael Hall), who was one of the children Laurie cared for on that fateful night in 1978 and meets a handful of other survivors in a bar on Halloween night each year to raise a glass to Laurie and encourage the locals to never forget or anything like that. Another subplot involves a couple named Big John and Little John (Scott MacArthur and Michael McDonald, respectively) and gets this: They have moved into Michael’s childhood home and tastefully renovated the place from top to bottom. On Halloween night, Big John and Little John break out of the charcuterie plate, smoke some weeds and watch “Minnie and Moskowitz,” I do not kid you, and they are terribly unprepared when Michael comes and knocks on the back door and then the front door.
While Laurie and other characters give harsh talks about the true nature of evil and how there is strength in numbers, but if the townspeople are not careful, they become as ruthless and wild as Michael himself, the masked man cuts a bloody path through Haddonfield and killed characters , who behaves as stupidly as the victims in hundreds of other standard-edition slasher movies. Granted, there are some darkly entertaining and strange moments, e.g. When Michael suddenly develops a Hannibal Lecter-like flair for the dramatic, arranging for a murdered couple in the same pose they hit for a framed photo on the cover and dropping the needle on a turntable to play “Can I Have This Dance the Rest of my life?” by Anne Murray.
But wait. We just heard from a veteran cop who had the chance to kill Michael in 1978 but blew it — and this guy says Michael is a 6-year-old boy with the strength of a man behaving like an animal . How did he suddenly become so sophisticated with the grotesquely arranged corpses and the twisted musical selection?
It’s almost as if “Halloween Kills” is an inconsistent, sloppy mess.
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