31 Days to Scare ~ Halloween Kills

The Facts:

Synopsis: The nightmare isn’t over as unstoppable killer Michael Myers escapes from Laurie Strode’s trap to continue his ritual bloodbath. Injured and taken to the hospital, Laurie fights through the pain as she inspires residents of Haddonfield, Ill., to rise up against Myers.

Stars: Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, Thomas Mann, Anthony Michael Hall, Kyle Richards, Nancy Stephens, Charles Cyphers, Nick Castle, James Jude Courtney, Robert Longstreet

Director: David Gordon Green

Rated: R

Running Length: 106 minutes

TMMM Score: (4/10)

Review:  The release of a new Halloween film in 2018 that reset the timeline for the rocky franchise was a refreshing inhale of breath for both cast, creatives, and audiences alike.  Trapped for years with characters that were connected by blood (more like lazy screenwriting) and a once-human killer that grew more supernaturally inhuman with each passing chapter, the series was in terminal status when director David Gordon Green (Our Brand is Crisis) and actor Danny McBride teamed up with Blumhouse Productions and convinced original star Jamie Lee Curtis to return to the role she created.  Also snagging John Carpenter to come along and give his blessing helped get the longtime fans on board as well.  The well-received and ambitiously thoughtful effort was a revitalized movie that didn’t completely reinvent the concept of the reboot, but it laid groundwork that continuations to an original story were possible, especially with the involvement of those that were there when it all began. 

Perhaps you can believe the story now that Green and McBride originally pitched their first round of Halloween as a two-parter but later thought it best to see how a standalone installment would work instead, but there was a sweet finality in the ending of the 2018 film that didn’t feel like a wide enough door was kept open for what has led to the far less impressive goop that is Halloween Kills.  The first of two movies shot back-to-back in 2019 and originally intended to be released in 2020, this middle chapter of trilogy of films from Green and McBride picks up almost precisely where the previous film left off, on a Halloween night 40 years after Michael Myers (Nick Castle in some scenes, James Jude Courtney in the more physical ones) went on a killing spree in Haddonfield, IL. 

With Michael apparently trapped in survivor Laurie Strode’s (Curtis, Knives Out) compound which she set on fire with the help of her daughter Karen (Judy Greer, Lady of the Manor) and granddaughter Allyson (Andi Matichak, Son), the three Strode women head to the hospital to tend to their wounds.  Never count out the Haddonfield Fire Department, though, who have raced to the scene and find Myers very much alive and blazing mad.  As Myers begins to slash his way through Haddonfield, reports of the murders that took place earlier in the evening have gotten back to Tommy Doyle (Anthony Michael Hall, Live by Night), Lindsay Wallace (Kyle Richards, The Watcher in the Woods), and Marian Chambers (Nancy Stephens, Halloween H20: 20 Years Later) who are holding their yearly survivor’s celebration at a local bar.  Like Laurie, they’ve chosen to deal with their own trauma of that night in their own way but unlike Laurie have found comfort in sharing that experience with others.  With news of Myers return, the three instinctively jump into action and rally a group of townspeople along with them.  Now it’s just a matter of finding Myers and stopping him again.  But where is he going and who might he be looking for?

That’s the tidiest description of messy plot slapped together by Green, McBride, and Scott Teems and I was a little taken aback by how much the three had abandoned the subtleties introduced in their first outing.  Whereas the reintroduction of the Laurie character felt like an interesting way to look at a lifetime of living with PTSD, survivor’s guilt, and paranoia, the people we meet in the sequel are enigmas with only names that sound vaguely familiar to us.  Sure, we know who Tommy Doyle is but other that that…who is he?  As played by Hall, he’s someone harboring a lot of shame over lack of action even though he was a child when he was attacked while Laurie was babysitting him.  Same goes for Lindsey, though Richards doesn’t crank up the angst meter as far as Hall does.  We don’t have the luxury of being reacquainted with these faces from the past before they’re called on to take center stage…and they definitely are because the stars of the last film are curiously absent for quite a lot of Halloween Kills.

Of all the callbacks, I doubt anyone wanted to be thinking of Curtis being stuck in a hospital bed for much of 1981’s Halloween II but that’s where she’s confined to for lots of Halloween Kills.  When she does amble about, she’s not at full Laurie strength so whatever vengeance Curtis came back with in Halloween is a bit hollow here.  That’s at least better than what poor Greer gets, though.  Relegated to the role of “he’s coming for her!” paranoid protector, Greer is adrift and robbed of the modicum of found strength afforded to her at the end of the last movie.  The only Strode that continues to show potential is Matichak and while Allyson has a number of insanely unwise choices, she roars to life just as the movie is on life support in the final act.

As for the main attraction?  Well, what can I say?  I mean, Michael Myers has returned to his gruesome killing methods that reached a Grand Guignol peak in the two Rob Zombie barf-y films.  Murder is here for the sake of murder, and I have to wonder what kind of pleasure is to be derived from a filmmaker including a scene where a mortally wounded victim watches helplessly as their dying (or even already deceased) significant other is slowly stabbed by a multitude of knives by Myers.  Why?  The two characters have no bearing on the plot, the scene comes right after an insanely bloody murder scene, and it’s followed by more murder.  Myers kills a huge number of people in vicious, heinous (pointless) ways and even as an ardent fan of horror movies I wanted to tap out…this was no fun, no fun at all. (Side note, the amount of couples that die at the hands of Myers in this one is almost laughable…I guess the screenwriters didn’t want to leave anyone partner-less and in mourning.)

I’m not entirely sure why Green, McBride, and Teems decided to go in this direction.  The first film focused on Laurie and examined her trauma – this was interesting material to explore in a mainstream horror movie and a franchise not known for its sensitivity to such matters.  In Halloween Kills, they’ve shifted from Laure’s grief to a larger view of how the town has suffered.  This is another nook with great potential, but it’s wasted on appalling displays of grunting vigilante justice and toxic mob mentality as the ruling authority.  In that way, the movie becomes more obnoxious than disappointing.

I mentioned this script is very bad, right? At times, I wondered if the actors were just improvising dialogue because the number of times the phrase “Evil Dies Tonight!” is used is mind-boggling.  Eventually turning into a greeting of sorts from one character to another, I started silently saying under my breath “…next year.” knowing the true finale of the night he came back home wasn’t going to finish up until October 2022 with Halloween Ends.  After a head-shakingly crazy finale, I can’t even imagine how Green and company are going to keep this one going until the break of dawn.  Hasn’t Haddonfield suffered enough? After Halloween Kills, haven’t we?

Movie Review ~ The Quarry


The Facts
:

Synopsis: After murdering a traveling preacher, a fugitive drifter assumes his identity and becomes the new cleric of a small-town church. While he wins over the congregation, the police chief starts to link the mysterious stranger to a crime investigation.

Stars: Shea Whigham, Michael Shannon, Catalina Sandino Moreno, Bobby Soto, Bruno Bichir, Alvaro Martinez

Director: Scott Teems

Rated: R

Running Length: 103 minutes

TMMM Score: (7/10)

Review:  There are times when big screen adaptations of novels feel too workmanlike, simply going through the motions like chapters are driving the characters forward rather than real motivations.  Internal narratives are filled in with action so audiences don’t get restless and you feel as if you’ve lived the book rather than experienced the movie.  Every so often, though, you come upon a film that’s made the leap from page to screen and the transition works to its advantage because it lets the book dictate the rhythm and pace of what develops.

No one is going to watch the indie drama The Quarry and get an adrenaline rush from the viewing because writer/director Scott Teems hasn’t set out to create a fast-paced crime noir set in a Texas border town.  This is a carefully considered character study and before you roll your eyes a second time let me reel you back in and say that as dime a dozen as those may be, this is one to take a chance on.  Though the action that takes place over the 103 minute run time may not be the most original or, let’s be honest, exciting, it’s at least compelling in a way that many similar films aren’t.

Picking up The Man (Shea Whigham, Vice) after finding him on the side of the road, a preacher (Bruno Bichir, Sicario: Day of the Soldado) running away from his past toward an unremarkable future makes the mistake of thinking he can save one last troubled soul.  In short (non-spoiler-y) order, The Man kills him, dumps his body, and assumes his identity in the small dead-end town near the Mexican border, first as a way to hide from the law he’s clearly running from but eventually because he finds some salvation in the response he gets from the town’s residents.  Much like 2019 Best Foreign Language Nominee Corpus Christi, the townspeople have a positive reaction to this supposed man of God because he speaks to them in a way no on has spoken before…as one of them, which, we know he is. Taking room and board with Celia (Catalina Sandino Moreno, A Most Violent Year) who sees the police chief (Michael Shannon, The Shape of Water) regularly puts a spotlight dangerously close to him…a situation made more tense when a body is discovered in the local quarry.

It’s interesting to note that Damon Galgut’s 1995 novel has been made into a movie once before in 1998 that maintained the book’s original setting: South Africa.  Teems has skillfully moved the action to Texas which provides an opportunity to further explore the themes of the book involving the police trying to pin the murder on local minorities (blacks in the novel, Mexicans in the 2020 movie) which only makes The Man’s growing anguish over his crime grow.  You don’t have to look very hard to see a little Les Misérables action happening, with a man living under a false name pursued by the law weighing his options when another man is arrested and tried for a crime he himself committed.

You may not know his name but you’ve definitely seen Whigham before (and you’ll see him again next week in a small role if you check out the excellent To the Stars) and he’s afforded a swell leading role here.  He hasn’t made the leap in Hollywood to A-list, but I always have the feeling he’s one great role away from getting recognized for his strong showings wherever he turns up.  His quiet, nearly silent, role speaks to a deep well of hurt within the convict and though you know you shouldn’t be on his side, you silently root for him to win.  Never truly capitalizing on her Oscar-nominated role in 2004”s Maria Full of Grace, Sandino Moreno is excellent in her supporting turn as the lone female presence in a male dominated town/movie.  Shannon’s lawman could very easily have gone cliché but he kept surprising me, whether that was the script or the actor, I’m still not quite sure.  Another actor to look out for is Bobby Soto (A Better Life) as Celia’s cousin.  Soto begins the film heading in one direction but takes a surprising twist halfway through.  Going toe-to-toe with nearly everyone in the movie, Soto often manages to come out the winner in his scenes…a not small feat considering his co-stars.

You’ll hear the term “slow-burn” thrown around a lot when people talk about the movie but don’t take that to mean it won’t hold your interest.  I was initially put off by what I thought would be another tale of “how long can a man who isn’t who he says he is fool everyone into thinking he isn’t a bad guy” and was pleased to find how much the movie pulled me in and took me along for the ride.  For fans of these types of crime dramas and assured performances, you’ve got a good option in The Quarry.