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Although there have been some attempts to surpass the 1978 classic, the new film is largely respectful of the source material.
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There are no hash words in the new Halloween as for the franchise in which the film exists. From the beginning, a character asks Laurie Strode's granddaughter if it's true that Laurie and the famous serial killer Michael Myers were a sister and a brother; The granddaughter responds with a disdainful "no", pointing out that this is only a "silly rumor" invented by people by building the legend of Michael Myers as much as the man and his murders have ever been able to. This surprise was built in the following of 1981 Halloween II, one of the many films in the series that is totally (and intelligently) ignored in this latest revival, which creates a new space to occupy and flourish.
For the purposes of this new film, directed and co-written by David Gordon Green, with John Carpenter as executive producer, all that matters is the first Halloween. The new film is a direct sequel to the 1978 classic; in this movie, Laurie Strode (Jamie Lee Curtis, of course) was an innocent teenager whose work as a babysitter at Halloween has turned into a battle for survival against a relentless and hard-to-kill murderer who was determined to make his night a nightmare. . In this slow follow-up, Laurie spent 40 years suffering from post-traumatic stress disorder while planning her revenge against the infamous monster. When Michael Myers is to be transferred to a maximum security facility – of course – Halloween, he manages to escape and return to Haddonfield, Illinois, to do more carnage and deal with his victim survivor.
The punches of the first Halloween are very visible in the new, from the obvious to the most esoteric and fan-service-y. Of course, the scary theme of Carpenter is back (the iconic director co-composed the score), and there are a number of long shots to illustrate the feeling of an off-screen author watching and tracking his prey. Some of the references and jokes are direct reversals or deliberate echoes of what happened in the first film. As in the 1978 film, one of the young women (Virginia Gardner) who becomes the target of Michael keeps a young charge watching a genre film on television before the horror hits his home. And the fiery climax is a confrontation between Laurie and Michael that shifts their roles between the last moments of the first film: Laurie, this time, is the one who stalks Michael, and it is she who seems to disappear under her eyes after being thrown to the second floor of a house.
Some of these reminders may be a little more satisfying than others; Most of the references in the finale work less because they feel fully deserved by Green and his co-writers Danny McBride (yes, Kenny Powers) and Jeff Fradley, and even more so because they feel like a nice reward for Curtis, the Final Girl. Not surprisingly, the presence of Jamie Lee Curtis in the new Halloween is a big part of why the movie works. Curtis has always had a fierce intelligence throughout his career, and the benefit of taking advantage of the extension to characterizing Laurie Strode. During Laurie's 40 years of transformation, he became a wood survival specialist, with an underground security room, a set of weapons, and a makeshift range. for the practice of the targets. Laurie's fierce and fanatical determination and protection has moved her away from her adult daughter (Judy Greer), but that makes perfect sense for her as a character and allows Curtis to embody the complexity to be the adult Final Girl.
One of the few main means by which the new Halloween not bad is in his version of the character avuncular doctor. Dr. Loomis (Donald Pleasence) has since died; in his place, Dr. Sartain (Haluk Bilginer). At first, Dr. Sartain seems to embody a slightly more sympathetic version of Dr. Loomis that we met in the original: he clearly understands how much Michael can be terrifying and the damage he has done over time, but seems less thirsty to know if Michael is or not should be sentenced to death as opposed to being studied for medical and psychological purposes. But in the third act, it's revealed that Dr. Sartain really wants to keep Michael alive so that he can better understand what it is to kill. This desire is so extreme that Dr. Sartain almost happily kills a local cop (Will Patton) just to make sure Michael can have a vicious meeting with Laurie Strode. Given the minimal importance of Mr. Sartain compared to the rest of the story, this turn is largely absurd in a film that otherwise keeps his feet on the ground.
The four decades Halloween the franchise has had many ups and downs; Reviving Michael Myers and bringing back Laurie Strode could have been a real minefield in the wrong hands. But this new movie treats his characters more seriously than expected. There is – much more than the original relatively bloodless – a lot of death and gore here, and at least one violent sequence involving a motion sensor outdoor lighting system that is really annoying. But while some Halloween looks like a deliberate attempt to put together the original, it's largely respectful of the classic. Laurie Strode's treatment, coupled with Curtis' intense performance, makes this news Halloween a clever conclusion to an iconic horror movie, instead of a lazy cash take.
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