Another trip in the Wayback Machine today, friends. Here we’re spinning through the timeline to 2008, when I got together with my Showcase buds to take in not one, not two, but nine movies in the Halloween franchise. Let’s take a look, shall we?
Since Mike’s parents are staying with him after their home was damaged in Hurricane Gustav, Kenny graciously offered to let us use his apartment to kick off this year. On Friday evening, he and I sat with Jason and Andrea, and Daniel and Lauren, patiently awaiting the arrival of Mike, who apparently forgot we were doing this in the vast expanse of time (the day before) since I called and reminded him we were doing this. While we’re waiting, how about a brief history lesson? John Carpenter’s 1978 flick Halloween is sometimes credited as being the first slasher film, with all others (the adventures of Freddy and Jason included) being derivatives of that first maniac in a whitewashed William Shatner mask. It should be interesting watching this, as I know that at least a couple of our intrepid geeks have never seen the first Halloween before, whereas Jason knows it about as well as I know the Richard Donner Superman. The differing opinions will be great, right up until Kenny grabs one of the many bladed weapons he keeps around the apartment and runs Jason through as he attempts to defend Halloween III: Season of the Witch.
For information’s sake, I’ll just point out that I have not seen all of the films in the franchise either. The ones I have seen include the original Halloween, Halloween II, Halloween III, Halloween H20 and the recent Rob Zombie remake. So four of these flicks will be all new to me as well.
Okay, Mike’s here! Let’s get this show on the road…
The first slasher film comes on the DVD player, with the option to play either in widescreen or fullscreen. Kenny loses geek points for even asking which one he should play. As we go through the long opening shot, Jason and Mike begin arguing over whether Rob Zombie topped this film. (Jason argues it is impossible, while Mike claims the lack of “jump in fear” moments in the original makes it inferior. I merely nod and continue typing.) The argument comes to an abrupt halt when lil’ Michael Myers walks in on his sister naked, causing Mike to cheer in joy. The carnage has begun. As the film scrolls out of the Myers house, Mike comments on how cute he is, standing here holding a bloody blade. Daniel chimes in, “it’s like a little Kenny.”
As Dr. Loomis (the immortal Donald Pleasance) makes his appearance, noticing the breakout at the mental institute where lil’ Mike has been for 15 years, the classic John Carpenter theme music appears. And friends, no matter what else we say about this franchise over the course of this marathon, I want to make one thing clear: Carpenter wrote the best slasher movie score of all time. I mean… the Nightmare theme is okay, and Jason has his “ki-ki-ki… ma-ma-ma…” thing going on, but… oh, sorry. I was distracted as Kenny wondered aloud how a 22-year-old man who’s been in a mental institution for 15 years knows how to drive a car.
The action shifts to Jamie Lee Curtis, the young babysitter Laurie Strode, walking home from school past – as Daniel observes – a street full of Volkswagens. She’s the virgin of the group, thus inspiring horror movie tropes that would last decades. A little later, as Jamie Lee’s slutty friend brings her young charge over so that Laurie can watch both the little girl AND the little boy, Jason chimes in, “in five years, those two will have sex and get killed in a Halloween movie!” Mike looks over, incredulous. “Really?” I shrug. “Well, they’ll be eligible.”
As we approach the climax of the film, Mike pshaws the “lame” slash Michael makes at the terrified Laurie. I kinda think it’s intentional, though. Based on the later reveals about their relationship, I don’t think he was actually trying to kill her. As Jason points out, “he could have gorked her easily.” This begins a five-minute dissertation on the etymology of the verb “gork.” Daniel, meanwhile, tries to rat out Jamie Lee’s hiding place in the closet to Michael.
In the end, of course, Dr. Loomis shows up, and blows Michael away… or does he? Honestly, it’s a very good movie, but I don’t think it’s quite the masterpiece that some people (namely Jason) make it out to be. I give it a lot of credit for codifying the slasher subgenre, but there are later films, in my opinion, that did it better. I like this movie quite a bit, but I don’t think it’ll ever make it into the ranks of my all-time favorite horror flicks.
Picking up literally minutes before the end of the first movie, we re-watch the final scenes we’ve already seen, with Laurie facing off against the Shape after letting the little kids flee in terror. Dr. Loomis shows up, again, to save the day, and the second movie begins in earnest. The new stuff becomes obvious when Loomis rushes outside to find a hysterical body imprint in the grass. Laurie, having been wounded in her encounter with Michael, is whisked off to the hospital by Lance Guest, who will always be The Last Starfighter to me. As she gets an injection of a sedative, Jason squeals and covers his mouth, while Daniel leaps up and shouts, “Stick it in there!”
As Michael makes his way to the hospital, Laurie starts to have nasty dreams about being a child, visiting someone… somewhere. Really, at this point it should have been obvious where it was going, but hey, it was 1981. We then move down to the therapy ward of the hospital, where Nurse Naughty Parts is getting ready for a soak with the Last Starfighter’s partner. Mike gets excited, while Andrea just questions what kind of hospital they’re running here. Mike’s enjoyment of the film is curtailed only seconds later by the first appearance, in this franchise, of NMA (“Nasty Man Ass”) just before the paramedic is strangled on the other side of a frosted window while the nurse gets out of the tub, not even attempting to cover up despite the fact that a film crew is right there in the room. At this point, we ask Mike if he’s satisfied. “Eh, not really,” he says. Nothing satisfies that jackass. As Michael goes on to kill the nurse by making her bob for apples in a hot tub that’s gotten waaaaay too hot, I foolishly question why his hand isn’t burning. “He’s been shot 17 times!” Daniel shouts. I concede the point.
Finally, inevitably, Laurie is the last person still standing in the hospital and, after 70 ponderous minutes, the Shape begins to really go after her. Laurie and the Last Starfighter end up in his car, trying to flee, when he passes out and falls on the horn. “How in the hell is he gonna pilot a Gunstar?” I asked.
Fleeing from her comatose protector, Laurie tries to get BACK into the hospital, with Michael hot on her heels. Loomis gets her inside just under the wire, having just realized what everyone else figured out an hour ago: Laurie is his sister. Loomis shoots Michael – a lot – but then Haddonfield’s answer to Barney Fife tells him to stop. “He’s dead!” he shouts. Loomis shouts back, “no he’s not! He’s still breathing!” I nod. “That’s the smartest thing anyone has ever said in a horror movie,” I observe. “And it’s the last time it’ll ever happen,” Daniel adds.
Michael continues his rampage, stabbing Loomis, prompting someone to ask if he’s dead. “No,” I said, “he comes back.” Kenny adds, “he had the scalpel set on ‘stun’.” They flood the surgical room with gas, Laurie escapes, and Loomis lights a Bic, causing an explosion of epic (not really) proportions. Michael staggers out, burning like the Human Torch, before finally collapsing. How the hell Loomis survived that one, I’ll never know. At least, not until we get around to watching Halloween 4.
Before Kenny can even get the disc with the black sheep of the Halloween franchise into the DVD player, Mike and Jason are humming the “Silver Shamrock” song. The third film, famously, is sans Michael Myers entirely. John Carpenter decided to try to escape the trap of using the same antagonist in every installment of his franchise, which in and of itself, is a decision I can get behind. But man, man, man did he fall short in the execution.
In this film, the Silver Shamrock corporation begins marketing the most popular Halloween masks of all time: a pumpkin, a skeleton, and a witch. Accompanying the mask is a television show with the most ubiquitous, obnoxious theme song in human history. “Eight more days ‘till Halloween, Halloween, Halloween! Eight more days ‘till Halloween! Silver Shamrock!” What exactly a Shamrock has to do with Halloween is never adequately explained. The film follows a drunken doctor summoned to treat a man who was almost killed fleeing in terror from Clay Aiken. Clutching a Silver Shamrock pumpkin mask, he pleads, “They’re going to kill us… all of us…” The token black guy in the scene immediately runs for his life, causing Daniel to proclaim him the smartest black guy in one of these movies ever.
A few days later, Drunk Doctor is throwing back a few in a bar when a trailer for the first Halloween movie comes on. Seems there’ll be a special screening, sponsored by Silver Shamrock. The film has officially committed the same cardinal sin as the Simon Welles version of The Time Machine – you never remind the audience that there is an earlier, better version of the movie you are watching. Drunk Doctor hunts down the daughter of the guy who died with the mask, hoping he can solve the murder. Together, they decide to investigate the Silver Shamrock factory, in the totally Irish town of Santa Mira, California, where everyone is a freaky-ass stalker-type. As they stop for directions at a local gas station, I see that unleaded is only $1.32 a gallon. Upon reflection, I decide it may be worth living on top of a portal to hell if gas was that cheap.
As Drunk Doctor and the Daughter continue their investigation, they start doing unspeakable things to each other in the Santa Mira hotel – things his wife at home would certainly never approve of. Meanwhile, in a nearby room, a woman who came to town to get masks for her novelty shop uncovers something terrible – a computer chip in the mask’s trademark that kills her violently via a really bad special effect. Ironically, the mutilated remains of her face are probably the best splatter effect we’ve yet seen in this series, and when insects begin crawling out of her mouth, Lauren gets all squeamish. As we begin to discuss this effect, Drunk Doctor leaps to attention, exposing us again to the horrors of NMA. We all scream and cover our eyes, except for Lauren and Andrea, who just laugh at us.
The dynamic duo take a tour of the Silver Shamrock factory, which Daniel and Lauren are convinced was filmed at some museum they visited in Nashville. They continue to debate it while the CEO, Bob Silver Shamrock (or whatever the hell) gives a “processed” mask to a kid on the tour. Drunk Doctor decides to sneak back in that night, only to get attacked by one of the goons that’s been gouging eyeballs out of people for the entire movie. He manages to beat him up, punching a hole into his gut and making a startling discovery: the bad guys are robots, and they apparently bleed honey mustard sauce. Captured, Bob Silver Shamrock decides to conveniently reveal his whole plan to Drunken Doctor: they bring the a kid who begged like a hobo for a mask earlier, have him put it on while he watches the godawful commercial, and we see a portal to hell open up inside the kid’s head, resulting in bugs and creepy crawlies flowing out all over his fetid corpse. Mom was right about what happens to you when you sit too close to the TV. Y’see, these old Celtic folk hate how we Americans have corrupted the ancient ritual of Samhain with our candy and kids in masks, so he decides to kill all the kids as a human sacrifice to bring back the devil or Gilligan’s Island or something. I wasn’t really paying attention any more at that point. The doc slips out of the trap by transforming from a drunken slob to MacGuyver, busts the girl out, and sabotages the operation by pressing exactly the right buttons on the evil giant UNIVAC computer. The whole town blows up behind them as they flee, but the broadcast is going to go on as planned. Oh, and the girl is a robot now. I dunno. He escapes and manages to run into one of the least satisfying endings in horror movie history.
This film is the “New Coke” of the franchise. It really just made people want Michael Myers even more. There’s a reason you can still buy his modified William Shatner mask at any Halloween store, but damned if you can find one of the Silver Shamrock specials.
At this point, as it was late and we were old, we retired for the night. We reconvened the next day at Mike’s house. At this point, it was me, Mike, Chase, and – improbably – Mike’s mom and grandmother for the next adventure…
Having learned their lesson from the “Season of the Witch” fiasco, producer Moustapha Akkad decided to bring back Michael Myers for the fourth round. Taking place ten years after Michael’s original rampage (which, if you’ll recall, took up both of the first two movies), we pick up the story with Jamie Lloyd (Danielle Harris), the daughter of the late Laurie Strode. Oh yes – they decided to kill off Jamie Lee Curtis in-between movies. (We’ll debate this more when we reach Halloween: H20). It’s been 11 months since the death of her mother, and now Uncle Mike has apparently come back to hunt her down. Evidently, he somehow survived getting burnt to a crisp at the end of part two and now he’s back as a giant super-strong psycho burn victim.
As lil’ Jamie gets upset because her foster sister doesn’t want to take her trick-or-treating, which (as Chase observes) is really rather shallow of her. She pouts and Loomis – now a burn victim himself – pops up to continue his Ahab-like quest for Michael. He finds a bloody ambulance upside-down in the river, which in these movies is the surest sign of a psycho killer. It’s at this point that I really start to appreciate Loomis as a character. Most of these movies always feature a string of protagonists who are totally in denial about the murderers in their midst. It’s nice to have at least one character who doesn’t have his head up his ass. He continues his search, only to find a dead guy dangling from the ceiling by chains. Mike’s mom then pops out with the best quip of the night thus far: “He’s not a very good mechanic.” Loomis finds Michael and begins to beg him to stay away from Haddonfield and leave lil’ Jamie in peace. When Michael doesn’t say anything (horrors!) he opens fire on him, missing him enough times at short enough range to qualify instantly for a job as an Imperial Storm Trooper.
Jamie’s foster sister takes her shopping for a Halloween costume, where she meets her pinstriped boyfriend, who drives me absolutely crazy because I know I saw him in some 80s movie and I can’t remember which one and it’s driving me batty! Jamie, meanwhile, picks up a clown costume that, coincidentally, looks just like the costume Michael wore when he killed Judith waaaaaay back in the first movie. She goes out trick-or-treating and Michael breaks in, coming across her photos of her mom. Jamie’s sister is heartbroken to see her butt-ugly boyfriend hanging out at another girl’s house (a girl who is wearing nothing but a T-shirt that says “Cops do it by the book,” which virtually guarantees she’ll be hamburger patties before the movie ends). A group of rednecks show up and start shooting and random things, and Butt-Ugly Boyfriend starts doing decadently non-PG-13 things with Whore Girl, which sends Mike into fits when he realizes that she actually keeps her boobs nominally covered. Pretty soon, everyone is dead except Jamie, her sister, Butt-Ugly Boyfriend and Loomis, and Michael has them all trapped in the house. BUB gets killed just after I hear his name is “Freddie” and vow to look him up on IMDB when I get home. Rachel, the worst sister in the world attempts to help Jamie escape, and Michael soon has them dangling over the edge of the house. Sis falls and Jamie rushes to her aid, screaming “you can’t be dead!” and thereby proving that she’s never seen one of these movies. As they finally escape by the skin of their teeth, they meet the rednecks, who show an out-of-character amount of good sense when they agree to get the hell out of town and let the National Guard take care of Michael. Michael manages to hitch a ride and pull one of the guys’ faces off, leaving the girls alone to deal with him. Michael is finally killed by getting run over by a car, sprayed with a hail of gunfire, and trapped in a mine explosion. The girls go home… just in time for what is admittedly one of the best horror movie endings ever. As Foster Mom draws up a bath for lil’ Jamie, she dons her clown mask and, in a tracking shot reminiscent of the first film, approaches mom… only to reappear seconds later, covered in blood. The evil, it seems, survived.
Two years later, it was time for round five, and I begin to weep as I realize that this film actually only marks the halfway point of our marathon. After a particularly brutal “pumpkin carving” scene, we open with a recap of Michael’s overkill death via car, gunfire, and explosive. However, this time, we see him narrowly escape the blast and get away, according to Chase, by riding a Schlitterbahn waterslide to safety. He gets away and almost kills a transient, then passes out. Flash forward to one year later, in a child’s mental clinic, where Lil’ Jamie is strapped into a machine that’s monitoring her nightmares. She flashes back to brutally murdering her foster mother and wakes up screaming, then gets cuddled by a nurse who asks to… call her mom? Huh?
We see Michael wake up in the transient’s shack, where he wakes up without his mask. Chase then tells us to rewind the DVD so we can see how cute he is, and we are all far more frightened than we have been for the entire marathon to date. Jamie mimics Michael putting on his mask, helping strengthen Mike’s theory that they’re sharing some sort of mental link, then starts going through convulsions as he kills the friendly neighborhood transient. Eh. It happens. Jamie is better later, except for the fact that she’s apparently lost the ability to talk, and it soon becomes clear that Rachel has taken on a mother role for her. Chase sums up my thoughts about this perfectly: “SHE KILLED YOUR MOM, LADY!” It does seem a little bizarre… until Rachel again says, “Mom and Dad send their love.” As we debate whether the murder was a dream sequence or if mom just survived the attack or what, someone throws a rock through the window with a note that says, “The evil child must die!” I immediately think of a few former students of mine.
Over the course of the next several minutes, Rachel is interrupted from a shower by Jamie having a premonition of Michael killing the dog. We then meet the worst pair of cops in Haddonfield, evidenced by the goofy music that accompanies them. Seriously, it’s like listening to a Vaudeville routine. Loomis begins shouting at Jamie to tell him what she knows and she starts to weep. I shake my head. “not a child psychologist, are you Sam?” I ask. Chase pops up with, “I thought he was…” Oh. Yeah.
After Michael kills Rachel (Mike weeps because he never saw her boobies), her friend is picked up by a guy who I can only describe as looking like Fonzie, “if he was a douchebag.” Loomis terrifies Jamie some more, and then we see some dude with metal-tipped boots get off a bus and kick a dog. Mike’s mom chimes in with, “You no-good man! I’d kill you right now!” My only response is, “that’s going into the blog.” The next genuinely terrifying moment? When we see a convenience store that keeps its spinner rack of comic books outside. Those books weren’t made to handle the elements. Fonziedouche backs up behind the behind the store where Michael appears, doing something worse than killing him. He scratches his car. Then he stabs him in the face with a pitchfork, and we’re all happy.
Jamie breaks her streak of not talking just in time to save her friend Tina from Michael. As we begin a long, ponderous section featuring kittens and a jackass friend dressed as Michael pretending to kill people, we realize that Halloween 5 is, in fact, too dull to even effectively riff on. We’re all pretty relieved when the real Michael drives a pitchfork through the guy as he’s on his girlfriend. Then he comes back with a scythe to take her out. The worst cops in the world hear the bloody deaths, then they actually summon Michael to their car to chew him out. We’re pretty happy when he kills them too.
Michael comes after Tina with a car, but somehow, Jamie screams at him and makes him come after her instead. Mike and Chase are amazed at how his car can turn on a dime, while I am amazed that it’s apparently too slow to catch up with a 12-year-old girl in a fairy costume running over uneven terrain. They get away, Tina dying in the process, and Loomis issues his challenge to Michael: face him “back where it all began”! They’re going to the Myers house, and Loomis clearly has no qualms about using a 12-year-old girl as bait. Loomis is a jerk.
At this point, Kenny joins the fun, and we are temporarily distracted by the fact that he is now clean-shaven for his new job. It’s like Samson losing his hair. We barely notice the rest of the film, but that’s not really that big a loss. Jamie runs to the attic, where she finds the corpses of everyone she loves, and he hides in a coffin, which is the worst hiding place ever. Michael approaches her, but before he can turn her into kibble, she calls him “uncle” and asks him to stop and take off his mask. Which he does, prompting her to say, “You’re just like me.” I don’t quite get the connection. She’s not a nine-foot-tall psycho killer from hell. Loomis arrives (again), chains Michael up, and beats him with a two-by-four. Of course, he’s still not dead. He’s going to a “maximum security facility,” to stay there until he dies. People in this franchise are idiots. Finally, metal-toe-boot-man arrives (we’ve been watching him periodically pop up throughout the film), and begins trying to shoot Michael through the bars. Jamie wanders back into the jail, where the cell is burning… and it ends. “Thank god,” I say, before the significance of this event dawns on me. Yeah, the cell was on fire, but dammit, Michael was gone.
The film begins with Jamie, now a teenager and played by somebody else, being wheeled through a hospital and into a large satanic-looking chamber to, evidently, deliver a baby. The child is marked by the silver-toed dude from the last movie, but Jamie manages to grab the baby and flee… right to an abandoned farmhouse, where she abandons the screaming infant and is soon killed by Uncle Michael. This, as I believe I’ve mentioned before, is the cardinal sin of a horror movie: bringing back the previous film’s survivor girl just to kill her off in the opening act. I hate that. Anyway, before she dies, she whispers to him that he can’t have the baby. Then she dies a lot.
Back in Haddonfield, we find a man who was actually stupid enough to buy the Strode house, and as a result is being plagued by kids putting standees of Michael in the yard. Living here is a lovely non-nuclear family: Abusive Grandpa and Grandma, their teenage son Tim, their slightly older daughter Kara, and her son Danny. It gets worse when it dawns on me that this is another branch of the Strode family, Laurie’s foster-relatives. After a fight at the breakfast table, Grandpa slaps Kara, only to have Danny grab a steak knife and point it at him. This is why you never buy a house that previously belonged to a serial killer’s foster sister. Living across the street, however, is the grown-up Tommy from the first movie, now played by Paul Rudd. He’s been watching Kara undress through the window, while meanwhile obsessing over the minutia of the Michael Myers legend… he’s clipping newspaper articles, listening to radio call-in shows full of Myers conspiracy theorists, and genuinely creeping the hell out of everyone. Somehow, he finds the missing baby in the restroom of a bus station, which is by no means the most sanitary possible place. Kara and Tim find a drawing by Danny featuring his entire family being stabbed to pieces, which Tim thinks is “cool.” Tim is freakin’ strange. Tommy hunts down Dr. Loomis to ask for help, which makes me realize that Loomis apparently hadn’t begun his child-terrorizing tactics in the first movie.
Tommy reveals that an ancient cult used to choose one child per town to be possessed by a demon and be driven to slay his family, thereby saving the rest of the town… which is evidently what happened to Michael. Which means it didn’t work, because how many non-Myers has he killed? Case in point: in the next scene Abusive Grandpa finds Grandma’s head in the washing machine, then gets stabbed and electrocuted. Really, I’m calling this spell an absolute failure.
Later, at a sort of outdoor Halloween festival (this town never learns) Tommy walks around being creepy, and finds a little Halloween fairy princess dancing in a “red rain.” It’s Tim’s buddy the shock jock, dangling from a tree and bleeding on things. Tommy calls Dr. Loomis and informs him that “it’s happening.” Well duh. Tim and his girlfriend get iced, and Danny (showing the sort of foresight that people always display in these movies) runs to the Myers house. Kara goes after them and manages to knock Michael down the stairs. She immediately becomes my favorite character in the franchise since Laurie.
Chase and I miss out on her battle with Michael as we debate who died first in each of the Scream movies for no apparent reason. Kara and Danny run across the street to meet up with Loomis and Tommy, and EEEEEEVIL VOICES call to Danny. It’s silver toed shoe man, played by the straight-laced dad from Dharma and Greg, who is Loomis’s boss. Evidently, everyone in this movie has been part of a conspiracy to get their hands on the baby. Kara leaps from a window, but gets captured, and Michael chases the whole gang to the asylum or something. Tommy busts Kara out just in time to get away from Michael, who takes a very large-caliber bullet right in the chest. Yeah, like this will work. Barely wounded, Michael goes to town in the operating room, though, resulting in a nifty little bloodbath and Mike screaming, “WHY IS THERE A STROBE LIGHT IN A HOSPITAL?”
Tommy tries to fake Michael out by giving him a fake baby, but the real one cries and screws the deal. Then Kara starts to beat the crap out of him with an iron pipe, further cementing her as my favorite. he still takes her down, but Danny shouts at Michael, drawing him away just in time to save her life. Loomis shows up AGAIN, does nothing AGAIN, and the others all leave him behind because he’s got “something to do.” We don’t know what, though, because that’s where the movie ends, along with a memorial to the late Donald Pleasance. Much as I goofed on Loomis, he really did add an air of class to these movies, and the next two feel his absence in a particularly painful fashion.
This was actually the first Halloween movie I ever saw. Jason and I caught it when it first came out, and I hated it. I haven’t seen it since, and I’m hoping that my new familiarity with the franchise will make me enjoy it more. This film, you see, ignores every movie since the second one. It begins in Langdon, Illinois, at the home of the late Dr. Loomis. The house is open and his nurse is freaking out, so she asks the kid from 3rd Rock From the Sun to investigate. We all bemoan the fact that he’s going to play Cobra Commander in the upcoming G.I. Joe movie, and just hope he dies. [2013 Note: Despite G.I. Joe, Joseph Gordon-Levitt has since proven himself to be a fine actor, and these earlier indiscretions have been forgiven.] Instead, he freaks out and beats up a pot rack, then takes a beer from the refrigerator. The fridge light is on, even though nothing else works. Apparently, the fridge is on a completely different circuit than everything else in the house. I’m not feeling particularly optimistic that this movie will be better than I remember. I do perk up a little when the teenage brat gets a pair of hockey skates shoved in his face a few minutes later.
On the plus side, Jamie Lee Curtis makes her triumphant return in this film. Evidently, Laurie Strode faked her death years ago and is now living under an assumed name with her fiancé, Alan Arkin, and her son, Josh Hartnett, and is the headmistress of a prestigious boarding school in Summer Glen, California. Of course, she’s still haunted by the memory of her big brother. As she meets her secretary, I am reminded that Janet Leigh is in this film, which is amusing on a few levels. First, she’s Jamie Lee’s real mother, and second, she was awesome in Psycho. She’s picking up some of the class slack left by Donald Pleasance’s absence.
There is a moment of vindication when we see Michelle Williams’ character washing dishes. You see, for years, Chase has referred to this movie as Halloween: Water, But There’s No Water in the Movie, as if it was the full title. When I point out the water in the sink, he apologizes. A few seconds later, as she walks down a hallway full of puddles, he announces, “There’s water all over this freakin’ movie!” I also make everyone quiet when we get to the best moment in the movie: when Janet Leigh tells Jamie Lee that she’s not trying to be “maternal,” and that “we’ve all been through things in the past.” When Jason and I saw this movie in the theater, we were the only two people who laughed at this line.
Chase had to step out at this point, as he was catching a plane in the morning, and by now Mom and Granny were in bed, so we were down to Mike, Kenny and myself.
Pretty soon, Jamie Lee is getting stalked again, but she keeps imagining she sees Michael all over, so when the real deal begins showing up, she thinks she’s just hallucinating again. The four main kids skip out on a trip to Yosemite to stay at the school and do dirty deeds, which terrifies Laurie when she realizes it. Mike comments that this episode feels too much like the Scream and I Know What You Did Last Summer franchises, and I point out that it was made in that era of the Slasher. The killing finally starts when Michael takes a corkscrew to one of the kids and a carving knife to another. Then, if that wasn’t bad enough, she gets her leg caught in a falling dumbwaiter before finishing her off. I must admit, it’s one of the more creative murders in these films as of yet. The remaining kids, including Laurie’s son, flee, and brother and sister come face-to-face once again.
We then get a first in this franchise – Laurie’s fiancé accidentally shoots LL Cool J, thinking he’s Michael, before getting gutted himself. Laurie sends her son and his girlfriend away and she decides to face him, alone, once and for all. Kenny suggests she put on a William Shatner mask and go after him. I counter – “No, no… Leonard Nimoy.” Laurie manages to stab the hell out of Michael, and she’s about to finish him off before LL Cool J pops in and stops her because, “He’s dead!” LL is a moron. Laurie, knowing it isn’t over, wait until the cops load Michael into a coroner’s van, then steals it and drives off into the middle of nowhere for the final battle. This includes throwing him through the windshield of a moving van, running him over, plunging both him and the van off a cliff, pinning him between the van and a tree, and chopping his head off. Credit where credit is due. Laurie doesn’t do things in half-measures. “I’ll say this,” I conclude. “A bad movie, yes, but with a good ending.”
Mike says “Oh my god, this is gonna suck ass” from the beginning of the opening credits, which features Busta Rimes and Tyra Banks. I cannot disagree. The movie begins with Laurie, now in an insane asylum. She’s there for decapitating “a man.” Y’see, it seems in all the confusion after Michael was beaten in the last movie, he put his mask on some other dude and stuck him in the coroner’s van, so Laurie actually killed an innocent man while Michael roamed free. Frankly, all things considered, I think she’s remarkably well adjusted. Michael has been on the loose for three years now, and he’s somehow tracked Laurie down. After killing a couple of security guards (because that’s how he rolls), he bursts through the door to Laurie’s room and chases her to the roof, where Mike notices that the mask in this movie doesn’t look anything like the previous ones. Where the hell does Michael get these things? Anyway, Laurie manages to catch his foot in a trap and dangle him over the roof, but she reaches for his mask to be sure it’s him. He grabs her, stabbing her in the gut before he throws her off the building. This just plain pisses me off. Laurie is the ultimate Survivor Girl. Dying 15 minutes into the movie? First of all, it ain’t kosher. Second of all, with her dead, Michael has no more reason to exist. But somehow, we’ve still got at least an hour of movie to go through.
Flash to Haddonfield University (apparently there is one) and we meet three college students who have been picked to be on an internet reality TV show called Dangertainment. God help me. They, and three others, are being sent to Michael Myers’ childhood home to “look for answers,” whatever the hell that means. A quick interview sequence makes me conclusively determine that five of them are pretentious idiots, leaving only our apparent new Survivor Girl, Sarah, who freaks out when a light is knocked over and whose scream apparently turns on Busta Rimes, who begins talking to himself in the third person. We all want him to die.
The killing starts even before the show does, though, as one of the technical producers is murdered with what must be the sharpest tripod ever made while Tyra Banks dances around and makes herself a cappuccino. The kids begin investigating the house, where they discover everything has been falling apart for years… except that a cursory investigation of the kitchen shows fresh fennel. Apparently, when Michael came home he took the time to refill the spice rack. Meanwhile, Sarah’s dorky high school-aged internet buddy is dragged off to a party against his will, when all he really wants is to log on to a computer and watch her. He finds a kick-ass computer setup in the house where they’re staying and logs on. From there, he figures out Michael is in the house long before anyone actually in the house wises up, except for the ones he kills. We briefly have a moment of hope where we think that Busta is going to get killed as, dressed like Michael, he chews him out under the assumption that he’s the missing producer. But then Michael lets him live, disappointing us all, and goes on to kill the cute redhead, further disappointing us all.
The remaining kids figure out Busta’s plot and are about to leave, just before the real Michael shows up and starts cutting them up. Soon, only Sarah is left, and her only hope of survival is a primitive text message system with her geek buddy, giving her clues to keep her alive. In the end, this is a movie with stupid, shallow characters and a stupid flash-in-the-pan story. With the possible exception of three, I think this may well be the worst in the franchise. The house actually burns to the ground in this one, with Michael in it, which I guess makes it technically the end. After all, the next one is a remake…
Last year, Rob Zombie remade the beginnings of the franchise. Mike, Kenny and I saw the remake when it first came out, and we all liked it, so it’s nice to know we’re ending with a good movie. Zombie went back to Michael as a child, starting with him being bullied by his dad, torturing animals, and ultimately killing one of the bullies that tormented him. At this point, we’re all pretty exhausted, and the riffing has dwindled to a minimum. Still, we’re into the flick. It’s actually the Richard Donner Superman formula. The first half of the movie is all origin; he doesn’t put on the familiar costume or go to the familiar setting until the second half of the film, and from there, all hell breaks loose. Just like that other masterpiece of cinema to use the same formula: Santa Claus: The Movie.
Young Michael’s first kill, like I said, is the school bully. That night, after his older sister refuses to take him trick-or-treating so she can stay home and do things to her boyfriend, he duct-tapes his stepfather to an armchair and butchers him before taking care of the happy couple. At this point, Mike scares us all by announcing that, at this point in the movie, he’s rooting for Michael. Sure, Stepdad is a drunken jerk, but man… Anyway, after the killings, we flash through his treatment by Dr. Loomis (now played well by Malcolm McDowell), into an obsession with making masks, through his murder of a nurse, and through his mother’s suicide, unable to deal with the fact that she seems to have given birth to the Antichrist. I don’t know if I can root for this Michael, but Zombie has succeeded in making me pity him.
Anyhoo, 15 years later it’s the same ol’ thing. Mike breaks out and stalks his way back to Haddonfield, and the new Laurie Strode. Maximum cool points go for the casting of Danielle Harris, lil’ Jamie from 4 and 5, as Laurie’s friend Annie. And may I say, she did a damn good job of growing up. Hotcha. On the other hand, out of the three main girls, only Scout Taylor-Compton (as Laurie) could possibly pass for a teenager.
Once the killing starts in earnest, Zombie starts recreating scenes, lines, deaths, even shots, from the first two movies, which is a lot more fun to pick out having watched the original just last night (although it seems like about ten years ago.) We begin picking out comparisons between the two: Annie lives in this one, but died in the original; the cops are competent in this one, but morons in most of the other films… the big question is as to what time period, exactly, the different segments of the film are supposed to be set in. The second half feels very contemporary, very 2007. The first segment felt very 1970s. But only 15 years had passed. That first section in no way felt like 1992. It’s kind of hard to reconcile the two halves of the film, we say. The debate continues until Danielle Harris takes her top off, at which point all conversation ceases.
Eventually, as must always be the case, it’s down to Michael, Laurie, and Loomis, who turns out to be a much better shot in the remake than in the old movies. Bullets still don’t really work for beans, but at least he’s a better shot. The final fight, the last 20 or so minutes of the movie, are totally brutal and unflinching. It’s harsh, it’s dirty, and it’s disturbing. Which, frankly, is what makes it work.
The final tally: Mike, Kenny and I all seem to agree that the Rob Zombie Halloween is the best of the bunch, although I contend that it wouldn’t be as good if you hadn’t seen the original. Season of the Witch is hands-down the worst, but if we’re only going to count Mike Myers movies, the consensus is that Resurrection sucks hardest. And thus ends the third annual Halloween Marathon, guys. Hope you enjoyed the recap as much as we enjoyed doing it!
Two years ago, Rob Zombie reinvented one of the slasher classics with Halloween. This year, Halloween II picks up and extends his new vision of terror — but do the Showcase boys share his vision? Check our our mini-review!
Writers: Mitchell Kapner & David Lindsay-Abaire, based on the works of L. Frank Baum
Cast: James Franco, Mila Kunis, Rachel Weisz, Michelle Williams, Zach Braff, Bill Cobbs, Joey King, Tony Cox, Bruce Campbell
Plot: Carnival huckster Oscar Zoroaster Diggs (James Franco) is swept up by a cyclone and hurled away to the mysterious, magical land of Oz. There, he finds himself caught in a power struggle between three witches (Mila Kunis, Rachel Weisz and Michelle Williams) over the realm’s vacant throne. A prophesy claims that a wizard from another land will save Oz from wickedness, but can this humbug of a man find in himself the hero that Oz needs?
Thoughts: Before I really dig into this movie, I think it’s only fair that I (briefly) tell you about my personal history with Oz, so you can understand where my opinion is coming from. Like most people these days, my first exposure to Oz was the 1939 MGM film, which I saw as a child and enjoyed. When I was a bit older, though, at my local public library (visit ‘em kids, they’re awesome) I found an entire shelf of Oz books by the creator, L. Frank Baum. I devoured the books they had (which, as it turned out, weren’t all of them), and since then I’ve been a devoted consumer of any book, movie, or comic book I can find that offers a different vision of the land of Oz. Although I think there is plenty of room in media for many, many different Ozzes (a phenomenon I discussed in more depth on my other blog yesterday), in my heart, my favorite visions of Oz are those that pay due deference to Baum.
And it’s with that perspective that I can say I enjoyed Oz the Great and Powerful immensely. (Don’t worry, I’ll put up a warning before I get into any spoilers for those of you who haven’t seen it.)
The biggest problem with prequels, as George Lucas proved, is that it’s difficult to maintain suspense when the audience already knows where the characters will be when the story ends. This isn’t really a big problem with this film, though. Baum gave precious little backstory on many of his main characters, and almost none on the witches of Oz (although subsequent writers would often turn to this as their inspiration), and that leaves the screenwriters an enormous amount of room to play in. They also create a version of Oz that is mostly consistent with the books, while still giving a few nods to the 1939 film that they know is what most people will use as their measuring stick.
The casting is very good. Zach Braff as Finley the Flying Monkey brings a totally unexpected element of comedy to the film, one that serves to give us a glimpse of light in very dark moments. Each of the witches feels very natural in their respective roles – Mila Kunis’s naïve Theodora and Rachel Weisz’s sly Evanora work very well as the sister witches, and from the beginning present an interesting question to the audience… which of the two will someday become the insidious Wicked Witch of the West, and which one has a date with a house that’s going to fall out of the next tornado?
Michelle Williams is almost perfect as Glinda. While Billie Burke’s portrayal from 1939 is that of a hands-off fairy godmother, the sort who prefers to pulls the strings and not get directly involved, Williams is a much fiercer, braver woman. The display of power she puts forth in this movie is impressive, and certainly more in keeping with the character Baum created. He didn’t go in for the pyrotechnics quite as much as this movie does, mind you, but it’s easy to see Williams’s Glinda capable of maturing into the strong, confidant witch she becomes in the original books.
Then there’s Oz himself, James Franco. Oddly enough, he’s the only one of the main cast that doesn’t always work for me, and it’s for an strange reason. Franco plays Oz as a snake oil salesman, a con man who has a good heart buried somewhere deep inside, and that’s all well and good, that’s how he should come across. But there are moments in the film where it feels like he’s actually overselling the overselling, moments where you’d want Sam Raimi to ask him to dial it back down to 11 from 12 or 13.
As for Raimi’s directing… it’s fantastic. His visual effects team has built a brilliant, remarkable Oz that satisfies me on absolutely every level. Even the 3-D in this film is superior to most others. It’s funny – I’ve long said that I’ve never seen a movie that convinces me that 3-D is a tool that improves storytelling, that there is no movie that does for 3-D what the 1939 The Wizard of Oz did for color… and this film almost does it. Raimi’s transition from Kansas to Oz is a truly remarkable moment, and one that uses 3-D in a very clever way, similar to the way the ’39 film did with color. It’s visually stunning and, for a few scarce moments, I was glad I saw it in 3-D. Then later on he starts throwing monsters and spears straight at the camera and I was over it. Raimi also throws in a few moments of self-reference, which I think are fun as well… there’s one scene that’s almost straight out of his own Army of Darkness, which had my friends and me in hysterics, probably because we’re the only people in the theater that got the joke.
I’ve got other things to say about this movie, including a few problems, but nothing I can discuss without putting up a spoiler wall. So if you’ve read this far and you haven’t seen the movie yet, let me assure you that it has my wholehearted recommendation. It’s a great fantasy film, probably too scary for the little kids, but well worth watching in the movie theater. And I won’t even judge you for choosing the 3-D this time.
SPOILERS AFTER THIS LINE. ———————————————————————————————-
Aside from Franco being a bit over the top, my biggest problem with the story itself is one of timing… not pacing, timing. Once Franco arrives in Oz, it feels like things happen entirely too fast. For one thing, I think it’s clear too early in the film that it is Theodora, not Evanora, who is fated to become the Wicked Witch of the West. In fact, I think it’s clear too early that Evanora is the real villain, and not the “Wicked Witch” the sisters are warning us about. Granted, as soon as we learn the “Wicked Witch” is named Glinda, the audience should know Franco is being conned, but that moment should be played as a reveal and never really gets that chance.
Theodora’s emotional turns are also hurt by the sheer speed of the piece. I’m not entirely sure (after just one viewing) but it seems like no more than three days pass between her meeting Oz and her transformation. In that time she falls madly in love with him, decides she’s going to marry him and become his queen, and then grows to utterly hate him when she sees a glimpse of him talking to Glinda and learns that he “romanced” her sister the same way he did her. (Incidentally, I think the film does a nice turn leaving it a little ambiguous as to whether or not this actually happened. We see Oz work his charms on various women in the movie, but never Evanora, which leads me to suspect he never did. Instead, I got the impression Evanora pulls off the con on her sister because she was spying on the two of them in her globe the whole time.) The sheer speed with which Theodora’s affections turn weakens the character, making her the fantasy equivalent of the internet Overly Attached Girlfriend meme. Even more problematic, she truly becomes wicked not because her heart is broken, but because after her heart is broken she allows her sister to make her evil. It’s still the character making a choice, but I think it’s a weak choice, she doesn’t “earn” her evil, so to speak… not so much a monster as a victim, which will give her death at Dorothy’ s hands a level of forced tragedy I don’t think works.
It seems very clear to me that this movie was made to be the beginning of a franchise, despite its prequel status – and in fact, Disney was already talking about sequel plans the day before the movie was released. I’ve got no problem with this turning into a franchise, but it’s a little too obvious that was the intent… instead of taking us from point A to point Z (“Z” being where The Wizard of Oz begins), this gets us to about… let’s say “J.” The film ends with Oz in power and the witches banished, but there are a lot of things that don’t mesh up. Evanora doesn’t have the Silver Shoes (or, if you insist on going with the MGM version, Ruby Slippers). Theodora isn’t in command of the Flying Monkeys. Both sisters have been driven out and humiliated, where Evanora pretty much has dominion over Munchkinland when the original begins. Probably lots of other little bits I’m forgetting now, but will remember when I (inevitably) see the movie again.
The biggest sequel hooks come in for the Wizard himself, though… specifically, he’s not the recluse we know he’s doomed to become. He and Glinda have a romantic relationship, which simply doesn’t fit the first movie (or any other incarnation, for that matter). This gives the screenwriters a delicate task – they have to do something to alter the relationship in such a way that they are no longer together, that he has retreated into his palace, but where she still has enough faith in him to send Dorothy down the Yellow Brick Road when she drops from the sky. Then there are Finley and the China Girl, Oz’s surrogate family. Their inclusion in this story is actually wonderful, but it has us poised for tragedy. The moment Finley swears his life debt to Oz, pledging to remain with him until he (Finley) dies, I had a chill at every moment he was in danger. We know that the Wizard has no Finley when Dorothy arrives, and there’s simply no way the character Zach Braff played would ever turn on his friend… which leaves only one possible reason for his absence in the later stories.
I appreciated a lot of the little touches that were brought in from the original book, for example, the inclusion of all four of the peoples of Oz, and not only the Munchkins as the original film did. The prominence of the China Town was good too, although it does raise the question of how it will be rebuilt to the point it will be when Dorothy arrives. (Then again, as this is a point left out of the original film, perhaps the filmmakers don’t plan to address it again.) And although there were a few creatures we encountered that didn’t come straight from the books, there was nothing that would feel out of place in a Baum story, and so I’m perfectly happy with that.
As a lifelong Oz fan, though, there’s one glaring red flag waving in my face, one thing that simply flat-out contradicts any version of Oz I’ve ever seen, one thing I’m having a little trouble getting over, and that’s the notion that Glinda is the daughter of the murdered King of Oz. This doesn’t fit in anywhere, and I have a hard time wrapping my brain around it… not only idea that Glinda is the king’s daughter, but also the question of what this means for the true ruler of Oz in the original novels, Princess Ozma. Considering how much work was done to mine the book, making a change of this magnitude is really troublesome to me. At the end of the movie, I kept waiting for an exchange like this:
OZ: Hey, if your father was the king, doesn’t that mean you should be queen?
GLINDA: No, I had to renounce my claim to the throne when I chose to become a witch. My sister was supposed to take over, but she’s been missing ever since our father died.
Not a perfect solution, I admit, but at least it would be something. The point is, it’s not a minor quibble, but a major chance to the Oz canon that I think the sequels simply have to address.
That said, as big an issue as I have with that element, I still really enjoyed this movie. It’s a modern Oz with a timeless feeling, which is as much as anybody could possibly have hoped for, and I hope to see Disney march forward with this franchise for a long time… even, if they have the guts, rolling into an actual adaptation of the original novel. Despite all the different versions of Oz that have hit the screen, very few filmmakers have dared try a full-on adaptation of the original, fearing comparisons to the MGM film. If the Disney juggernaut doesn’t have the courage to finally make a version of The Wizard of Oz that’s closer to the book, nobody ever will. And that, my friends, is where I really want to see this franchise go.
The first Reel to Reel study, Mutants, Monsters and Madmen, is now available as a $2.99 eBook in the Amazon Kindle store and Smashwords.com bookstore. And you can find links to all of my novels, collections, and short stories, in their assorted print, eBook and audio forms, at the Now Available page!