Halloween Kills

By: Maggie Stankiewicz

Ever since the original film’s release in 1978, the Halloween franchise has spun itself into a twisted, discombobulated narrative mess. The result was a run of several movies that either worked to complement or completely erase the plotlines that came before them. When Halloween (2018) was released as the first in a new trilogy focusing on Laurie Strode and the aftermath of the original 1978 massacre, fans were cautiously optimistic. The film was well-received by a majority of fans – stirring up a sense of excitement for the two films set to follow the modern revival. Unfortunately, Halloween Kills is as sophomoric as its position within the trilogy. Haphazardly strung together with flashbacks, disembodied monologues and a real mean streak, Halloween Kills seems to have lost the heart it found in Halloween (2018). 

Directed and written by David Gordon Green, who also helmed its predecessor, the failures of Halloween Kills are all the more disappointing. In many ways this film feels like the antithesis of Halloween (2018), exchanging thoughtful narrative and meaningful thematic exploration for relentless violence and carnage. Halloween Kills often feels as though David Gordon Green has forgotten that horror and heart are not mutually exclusive. Despite taking place the same night Laurie Strode (Jamie Lee Curtis), Karen (Judy Greer) and Allyson (Andi Matichak) leave Michael for dead in Laurie’s fiery homestead, this film completely sidelines its final girl – giving Jamie Lee Curtis little to do but look distressed in a hospital bed.

Judy Greer and Andi Matichak are left to pick up the slack, presenting audiences with two more warrior women. While these two actresses deliver compelling performances, this new Halloween trilogy is truly at its best when the three Strode women are together. The chemistry, the emotion and the depth they create when working alongside one another is a secret weapon never used in the latest installment. Instead of continuing to explore the generational trauma inflicted upon the Strode family, Halloween Kills opts to examine Michael’s impact on the town. This concept is interesting, but the execution is a meandering, misguided and shallow depiction of mob mentality.

This is a pattern throughout Halloween Kills. Audiences are presented with interesting character dynamics, poignant themes and important questions – only to see the ideas and concepts partially come to fruition. Easter eggs, fan service, flashbacks and returning characters are used as band-aids to distract viewers from its narrative shortcomings. Sometimes, this works. Kyle Richards reprising her role as Lindsey Wallace is a highlight of the film, while strange intercut flashbacks from previous movies feels fragmented and sloppy. Halloween Kills isn’t all bad, though. It depends on what you’re looking for in your Halloween films. And that’s okay.

Viewers interested in an all-out blood bath will be pleased. Long-time fans of Michael Myers and The Shape’s evil aura will get everything they want and more out of this film, which does not skimp on brutal kills. Audiences devoted to Laurie and her family, on the other hand, will leave this film with some hot rage running through their veins. No matter where you fall on the spectrum, Halloween Kills is still worth a watch. It’s a completely serviceable slasher film that makes up for its lack of character development with buckets upon buckets of blood. At the end of the day, isn’t that what we all want when turning on a movie featuring a voiceless, looming killer?