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It's been four decades since Michael Myers and his scared mask first offered willies in John Carpenter's 'Halloween', making him 61 – and, if we are to believe David's sequel to the same name Gordon Green is still in possession of the spine, pounding fists and non-arthritic knees. The meals at Smith's Grove Sanitarium, where he has cooled his feet for all these years, must be exceptionally nutritious.
For her part, Laurie Strode (Jamie Lee Curtis), the fiery babysitter from Illinois who had once escaped Michael's frenzy, has aged more credibly than her nemesis in oral sex. Now a grandmother and a case that describes itself as such, Laurie has experienced two failed marriages and a separation from her daughter, Karen (Judy Greer), marked by a childhood infused with catastrophic preparation. Burning eyes under a tuft of gray hair, Laurie lives in a strong house with a hole in the kitchen and holsters instead of art, convinced that Michael will come back someday to her. (She may be paranoid, but she is not stupid: when two English podcasters in search of real crime come to her steel doors, she accepts their $ 3,000 and sends them packing their bags.)
[[[[Lily New York Times Chronicle from the original movie]
And come back Michael do (played by James Jude Courtney, with a cameo from the original actor, Nick Castle), escaping from a prison transfer van on the night of the night. Halloween and sheathing to finish the job. At this point, Green (who wrote the screenplay with Jeff Fradley and Danny McBride) makes a crucial decision. By dismissing his attempts to revive Carpenter's minimalist masterpiece, he made a straightforward follow-up, a revenge between heroine and villain. This is not a sarcastic, ironic picture: Green wants us to believe in his Bogeyman, and Curtis is his ace card. Leaving no room for winks or laughter, it makes Laurie's long purulent terror the film's cement.
And we need it, because otherwise the filmmakers have little, but a classic slasher-like movie sprinkled with memory triggers and reminders at its source. The familiar sounding voice of Donald Pleasence, as Michael's former psychiatrist, is heard on an audio cassette and iconic images – a slatted cupboard door; an imposing silhouette, lit by a lamppost – press our pleasure keys. Like the usual musical theme, the action must be jeopardized, including Laurie's granddaughter (Andi Matichak). But the number of victims is respectable, even if it is remarkable, compared to the standards of today: the original "Halloween" was never question of volume.
Perhaps he complains to the viewers who are expecting nowadays at a higher yurt factor, this new iteration is more macabre but much less frightening, its elegance and efficiency hardly replace it appeared. Carpenter shows restraint and patience, restraint that transforms simple clichés of a dark staircase and a felted street lined with leaves into spaces filled with terror. His Michael was both man and myth, particular and universal, psychopath and supernatural entity. There is a reason why he also appears in the credits under the name of Shape.
By sending Michael to his greatest hits – like hiding in the background and sitting down unexpectedly – Green brings back a character who was the ultimate mystery to a device prompting the audience, as worn as his perfectly aged mask. Although I suppose that when you are close to touching social security, no one can blame you for looking a little tired.
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