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Name the name with fear, no matter what the man has failed meanwhile: John (Pause) Carpenter! He created Fantastica the coolest of his big days. Whether it's in "Dark Star", he dropped a tomato stranger with hippie claws or in "Assault", a gang of zombie-like youths in a ghetto police station.
Her masterpiece, however, is the trash indie horror film "Halloween" of 1978. The audience merged with the movie theater when young Laurie Strode (Jamie Lee Curtis) was stuck in the window from the garden pavilion, where they had just seen Michael Myers' pale, masked face. The murderer of the babysitter is now back on the canvas.
"Halloween" has led the public to fear the big knives
"Halloween" was the movie, after which you released his drawer of large kitchen knives. John Carpenter resumed the movement with the 1960 film "Psycho" from Horsbad, Hororsubgenre the Slasher. To date, the franchise includes eleven films.
Two years later, Jason Voorhees began his bloody work in the films "Friday, the 13th". In 1984, Freddie Krueger had his fingers danced in the series "Nightmare on Elm Street". And even Tobe Hooper's Leatherface of "Texas Chainsaw Mbadacre" (1974) and Norman Bates of "Psycho" saw their return to Sequels in the 1980s.
A small-town community that has been functioning has been blown up in "Halloween" as a result of an unpredictable event. Critics saw it as a reflection of the fear of the mushroom. And with the figure of Laurie Strode, feminism has entered the horror film, the "final woman", who defends herself instead of waiting for the male "prince" to defeat the monster for her and the saves.
John Carpenter ignores the intellectual cinematic badysis of "Halloween"
Carpenter, who is only executive producer of the return of the Myers series 40 years after the original film, but who modified his annoying piano-synth music, has simply seen his work as a "horror film" and ignored the academic depths of criticism,
David Gordon Green sits in the director's chair. In 2000, he reflected the current American Depression with his first film, the revolting drama of a small town, "George Washington", and will soon be reviewing the report on the murder of John F. Kennedy in "Newsflash". During his excursion into the horror compartment, Green ignores all the "Halloween" chases.
Yes, even the end of the first movie is no longer part of the canon, where Michael Myers, actually mortal, has expanded and escaped the thriller rule, "The Evil One Raise Again" to "The Evil One" More Than 100 Times ". The new film badumes that you grabbed him, he sits in psychiatry for forty years, escapes when a move and the Halloween night in Haddonfield, Illinois, comes to life.
The old horror mask of Michael Myers makes nervous even the guard dogs
The opening is scary. Two journalists want to question Myers, who – chained in the courtyard of his institution – suns. "He can talk, he just does not do it," says his psychologist whose name, Sartian, as it will be revealed later, is no longer musically eroded into "Satan". Behind the back of Myer, one of the reporters removes the old mask that he stole from the evidence room. While all the other inmates get nervous and even hit the guard dogs, Myers remains calm.
You can see short cut hair, a gray beard, trimmed, nothing more. It's the actor Nick Castle who, for the first time since 1978, flies over again the famous larva created by the chief decorator Tommy Lee Wallace, like the captain of the company , James T. Kirk.
Jamie Lee Curtis is back as well, her Laurie is a grizzled grandmother. Only the granddaughter Allyson (Andi Matichak) keeps in touch with the old woman, who has turned her house into a fortress. The daily practice of shooting gives him a second meeting with Myers expected, if not impossible. Feinripp to Ellen Ripley, the other famous "last girl" of Ridley Scott's "Alien".
Green quotes many original scenes and gives them a turn
But where fans of Green, the drama specialist, expected a great horror drama, the director goes for a carefree trip to Trashkino. Not only does it address the economic aspects of the first film related to the budget, but it also cites many original scenes and motifs and simply provides them with a new twist. This intentional second-hand originality is soon exhausted. Everything already seen. The cut is often bumpy and unmotivated.
The typical characters of the genre, whose plot-related character traits and suicidal behavior in crisis situations are roughly drawn, do not seem to be such a recommendation, but are unintentionally funny and have failed. Not to mention the scandalous dialogues of the screenplay. The chatter of two policemen in the patrol car on the merits of peanut butter and jelly buns seems endless.
What happens in the night does not teach fear
Some individual scenes succeed completely. The night is organized claustrophobic in Green. But what makes you no longer teaches you to be afraid. When the knife man spares a baby in the cradle, we see him almost as the marginalized of a bitter exclusion story. Perhaps director Rob Zombie spoiled everything in his 2007 "Halloween" remake, when he had adorned the mystery of Myers with a biography and a speech, making the latter the angry and fat child of a stripper and a crazy macho.
Maybe the big time of the Slashers is over.
By Matthias Halbig / RND
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