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Blumhouse has the ability to turn the franchise into a series of anthologies different from those currently on the big screen.
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"He waited tonight … he waited … I waited for him," says Laurie Strode of Jamie Lee Curtis before loading his tactical rifle. She is prepared for war, a war that many thought was over. They were wrong. Michael Myers is back. David Gordon Green's HalloweenA direct sequel to John Carpenter's 1978 original, The Shape (James Jude Courtney and Nick Castle) arrive at Haddonfield for a final showdown with Laurie Strode forty years after their original encounter. The film was sold not only as a return to form for the franchise, but also as a conclusion to Laurie's story, a story in which her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) are also trained. It is this feeling of conclusion, of centuries of trauma rising to the surface and of two primal forces that look at each other over generations, that makes Halloween feel so different from what happened before, which raises questions about what comes next.
Perhaps what is most surprising about Halloween It's not the confrontation itself, but rather how all of this is final. While Halloween (1978) began the slasher film boom and an endless cycle of sequels for himself and his imitators, with his cliffhangers, Green, and his co-writers Danny McBride and Jeff Fradley, take a different approach. New Halloween feels singular. Yes, he is forever attached to the original film, but, like Carpenter and Debra Hill, it looks like a complete story and not a montage of sequels. If the first movie was about Laurie fighting Myers alone and losing, then the second movie was Laurie fighter Myers through the reconciliation of her family and her victory. Trapped by three women whose lives he has torn apart without saying anything, Michael Myers is burned alive in the basement of Laurie's bunker house, exactly as she wanted. Strode's women send Michael to hell and, even though we do not see a body, the last shot of Allyson holding a blood-stained knife, having inherited the survival instincts of his mother and grandmother, is as concrete as any end Halloween the franchise offered.
But this is not the time to let the franchises die, especially not a brand as popular as Halloween. Despite the perfection of a finite Green built with this film, respecting Carpenter's legacy and feeling current in today's social climate, the number of Halloweens will increase. When interviewed by Forbes Last month, Jason Blum, producer and actor of horror, said: "I'd like to make sequels, and I hope we'll do a sequel and we'll do a sequel if the film play. We will not decide if we will make a sequel or not before seeing the reaction to this movie. But I really hope to get there. "The reaction is at the rendezvous and as the numbers of wickets continue to appear this weekend, it seems that the decision to proceed or not to sequestration will be easy. Only a few weeks ago, rumors were circulating that the preparation would have already begun at the next installment. Green's has managed to bring back not only Curtis as executive producer, but also John Carpenter to compose the score and executive producer, and Nick Castle in the role of The Shape. Halloween seems to be a magical convergence of creative chords that happens so rarely. The chances that all parties will meet again like this to create a sequel, not only desired, but necessary, seem slim. So what happens when October 31 comes back again?
In 1982, Halloween III: Season of the witch managed to leave Michael Myers behind. The film, produced by Carpenter and Hill, but written and directed by a friend, Tommy Lee Wallace, introduces a new mythology, a vision that abandons the tropes in the making for witchcraft, corporate evil and deadly masks – masks that make a monochrome appearance in the latter Halloween movie. Although the lack of Myers originally caused a negative reception, fans have since returned Season of the witch admiring its originality and the eye-catching jingle of Silver Shamrock. But Season of the witch It was not just an attempt to turn away from Michael Myers, it was part of a broader vision that Carpenter and Hill saw for the future. Halloween frankness, which would adopt an anthological approach, each suite being centered on a different aspect of the horror that the night could unleash. Not only would we have different stories of terror, probably produced and written by Carpenter, but we would have them every year. Of course, given the reaction and the box office performance of Season of the witchMichael Myers returned in 1988 Halloween 4: The return of Michael Myers, which ended Carpenter's commitment in the franchise until Green's film.
There is no better way to continue to honor the legacy of Carpenter and Hill than to return to this anthology idea. Blumhouse has proven to be ahead of the curve in offering original opportunities to low-budget filmmakers with original ideas. Green has managed to take the lead and deliver a valuable conclusion to the story of Michael Myers, and it seems counterproductive to ask other filmmakers to try the same thing, lest the franchise not finds himself in the same situation as in the 90s and that Michael Myers simply be replaced by Jason or Freddy for the same effect. Surely there would be more movies with Michael Myers that would entertain us and maybe scare us. But can there be more movies starring Michael Myers that have something to say? This seems much less likely. But by expanding the concept of Halloween as a cinematographic franchise to further encompass all we love about the party – "Black cats and goblins, brooms and ghosts, chapels of witches and all their guests, "as the children sang, may have something much more exciting on our hands. We can offer ourselves a chance to be surprised by Halloween on an annual basis. It's time to rethink our notions of what the Halloween the franchise is. It's time to put Michael Myers to rest and let the bad take a new form.
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