It’s fun when Myers is onscreen, lumbering his way toward another victim. The first half of the movie offers up rather inventive kills. Slash, slash, squirt, squirt! Oh my! He’s got blood on his shirt! Green’s interesting POV shots of the victims coupled with nasty, squishy sound effects provide several memorable moments of gory glee that horror fans will enjoy. Michael Myers is as unrelenting and remorseless as ever, maybe even more so. “Halloween Kills” wants to make poignant, timely points about how anger divides us and fear keeps us apart, but, trouble is, “Halloween Kills” is not one of the better horror films. That’s the gooey, gory stuff that keeps us in our seats, ready to absorb the larger social messages woven into the script. The best horror movies are never about the monster or the killings. “You and Allyson should not have to keep running,” Laurie tells Karen. Myers manages to escape and, as he resumes his killing spree, Laurie, her family and some motivated townsfolk aim to end his reign of terror. The nightmare should be over, but this is a “Halloween” movie, which means the nightmare will never be over. Michael Myers, the “essence of evil,” is in the basement of a burning house, trapped there by Laurie (Jamie Lee Curtis), her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak). His 2018 film “Halloween" is a direct sequel to the 1978 film of the same name.Īll you really need to know is that after an extended flashback to 1978, it’s Halloween night in Haddonfield, Ill., and the action picks up minutes after the 2018 sequel. Laurie Strode, the original film’s heroine played by Jamie Lee Curtis, has faked her own death, gone into hiding, decapitated, shot and stabbed Myers and yet, a new movie, “Halloween Kills,” featuring Strode and Myers, hit theatres this weekend.ĭirector David Gordon Green gets around the labyrinthine comings-and-goings of the mad-masked killer by simply ignoring the movies made between 19. There have been reboots, returns, prequels, sequels, and remakes. Keeping track of the storylines of the various “Halloween” movies and their sequels can be a mind-bending experience.įorty-three years ago, the original John Carpenter-directed movie established many of the rules of the slasher genre, and spawned a prolific franchise that so far has churned out an additional 11 movies detailing unstoppable masked killer Michael Myers’ penchant for killing good-looking teenagers. This image released by Universal Pictures shows the character Michael Myers in "Halloween Kills," directed by David Gordon Green. “Mass” is raw and real, devastating, nuanced and somber, a beautifully acted study in misery that allows for a flicker of hope. Restrained and realistic, the actors go deep, unconcerned with flashy pyrotechnics or showboating. Each explore a different avenue of grief and remembrance, and each deliver an acting masterclass. To that end, the main cast members are never anything less than believable. Questions about responsibility, radicalization, gun culture, and mental illness are woven into “Mass’s” fabric, but the movie is more interested in the human dynamic than answering those queries. “I loved Hayden so much,” says Richard, “but maybe he should never have been born.” Instead, director Kranz trusts the performances and the words to do the job. The bulk of the “action” takes place in one room, around a table as the four hash out the events that shaped their lives in the aftermath of the tragedy.Ī tempest of anguish, blame and forgiveness, it forcefully mines the emotion of the situation without resorting to sensational flashbacks or lurid recreations of the film’s defining event. “Mass” often feels like a stage play transposed to the screen. The intimate summit is meant to provide clarity and closure, but distrust and frustration steer the proceedings as they volley anger and recrimination back and forth. Years before, Richard and Linda’s (Reed Birney and Ann Dowd) son Hayden shot and killed eleven kids in a high school massacre, including Gail and Jay’s (Martha Plimpton and Jason Isaacs) son Evan. The story of “Mass,” a new drama from writer-director Fran Kranz, now playing in theatres, is simple but the emotions it evokes are anything but.Ī bland meeting room in an Episcopal church in Idaho is the backdrop for the meeting of two couples bound together by shared trauma. This image released by Bleecker Street shows, from left, Jason Isaacs, Martha Plimpton, Reed Birney and Ann Dowd in a scene from "Mass." (Bleecker STreet via AP)
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