"Evil Dies Tonight!"
A foolish chant from an angry mob in David Gordon Green's latest fright fest Halloween Kills. Released after a year long delay, the latest sequel to John Carpenter's 1978 horror classic continues from where the 2018 Halloween left off with escaped serial killer Michael Myers continuing his reign of terror on the citizens of Haddonfield. The previous Gordon-directed sequel proved enormously successful in revitalizing the franchise with him helming a new trio of films with Jamie Lee Curtis in the main lead. Whereas 2018's Halloween worked as being a franchise restarter, Kills dives into full slasher mode with a follow-up that's entertaining, yet lacks a sizable chunk of the previous films power.
Picking up where the previous Halloween left off, Kills continues the saga of Michael Myers and Laurie Strode (Jamie Lee Curtis) with the latter recovering in a hospital, convinced that she killed Myers in a fire. Upon discovering that he survived and is heading her way, she joins a mob determined to end the murderous saga. Kills plot builds off the ending of Halloween with the sequels story exploring the citizens of Haddonfield's reaction to the news that Myers has returned. Whereas 2018's film re-established the characters and introduced newer faces who've become integral to the franchise, Kills dives straight into the mayhem with a ridiculous bodycount. The film delivers the vibe of a traditional 80's slasher flick that's less concerned about storytelling, and more about giving fans of the series the hardcore horror violence they desire.
As far as performances go, Kills benefits strongly from its main cast with everyone delivering solid work. Jamie Lee Curtis once again commands the screen as a battle wounded Strode, although her character takes a backseat in this film compared to the presence she had previously. Judy Greer also shines as Laurie's daughter Karen with her being fully aware of the dangers Myers poses this time around. Andi Matichak continues to impress as Karen's daughter/ Laurie's granddaughter Allyson with Will Patton returning as Deputy Frank Hawkins, the officer who arrested Myers in 1978. Anthony Michael Hall stands out as Tommy Doyle, one of the kids Laurie babysat in 1978. Hall plays a more angry and vengeful Doyle, who helps motivate the town to take action against Myers. The rest of the cast serve as welcomed returning faces to series with Kyle Richards reprising her role as Lindsay Wallace from Carpenter's Halloween, along with Charles Cyphers as Haddonfield former sheriff Leigh Brackett, who lost his daughter to Myers in the original, and Nancy Stephens returning as Marion Chambers, a retired former assistant to Dr. Loomis. The returning faces strengthen Kills connection to Carpenter's masterpiece while bridging the timelines together.
Continuing his directorial duties once again, Gordon returns and crafts an even more brutal and gorier sequel with a body count which ranks as the highest in the series. The film is not only darker than its predecessor, but is filmed with cinematography that gives it a vicious feel. The deaths are gruesome with the kills steadily stacking on top of each other throughout the films rapid 105 minute running time. Composing the film again is Carpenter, who gives the film a highly-effective score. Despite the new film being stacked with kills, many lack a proper building up of suspense with the deaths continuously piling up to the point of feeling random with not much variation behind the methods other than the typical stabbings. In crafting a meaner and more violent film than its predecessor, Gordon delivers horror fans the goods while drawing clear inspiration from the now obsolete 1981 Halloween ll.
Kills writing comes across as feeling uneven with the script placing heavy emphasis on Myers committing numerous murders with Laurie's character experiencing a reduction in screentime much like Halloween ll. Whereas that film had Laurie sedated for most of it, Kills follows a similar pattern with her character being bedridden at a hospital that hosts an angry mob, who become the focus of the stories middle act. The script brings back old faces from the first Halloween, but doesn't give them much to do here other than remind audiences of their past connection to the series (Sheriff Bracket and Marion). If audiences found frustration with characters actions and decision-making from the previous film, they'll feel the same here as the mobs stupidity is in full swing. Most of the people who fall victim to Myers receive very little development, making them feel like disposable additions to the formers killing spree rather than people the audience can connect with. The script further explores Will Patton's character to mixed results with the film showing him capturing Myers in 1978, then revealing him to be a former lover of Laurie's which is odd considering Carpenter's film never mentioned it. While the sequel stays true to its intention of wanting to be a straight slasher flick in a style similar to Halloween 4 and 5, it robs key characters of their chance to receive further development. The rise of the mob also lacks build up with the audience not caring much when they chant the films key quote "Evil Dies Tonight!".
As for the films shocking end twist, it feels forced in a Red Wedding/Game Of Thrones way. While it certainly proves effective in generating shock from the audience, it also underscores the stellar buildup the 2018 film delivered. Halloween Kills is less concerned about further developing its story and more about delivering relentless amounts of murder with it borrowing heavily from the sequels it helps its predecessor erase. As a sequel to Halloween 2018, it's not terrible but it feels like a disappointing step back for the series. Those looking for endless amounts of brute kills will find satisfaction with the newest follow-up, though it doesn't offer any significant change for the overall franchise narrative outside of the films divisive third act. Hopefully Halloween Ends regains some of the franchises lost momentum as Kills offers up a serviceable yet disappointing entry.
Final Verdict: Stream It On Peacock
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