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Between jabbing needles in people’s eyes, boiling a nude woman’s face, claw hammers to heads - Michael has enjoyed killing in wildly inventive ways since the now non-canonical Halloween II .
Everything about it was exciting even though Michael Myers keeps on getting up and surviving no matter what is done to him and usually I don't like things like that; I like more logic than that, but this series was very good. In short, Halloween Kills all too often feels like exactly what it is, the middle film in a trilogy, treading water until the third part, next year’s Halloween Ends. Anonsten ist der von Schockmomenten, Jump-Scares und reichlich Gewaltspitzen dominierte Film ein 1a-Slasher, der die gealterte Horror-Ikone Michael Myers grandios und wie eigtl. Even on my modest twin subs, it’s a track that has some of the deepest and most consistent bass I’ve heard in a long time (the wave of bass accompanying the roaring flames as Michael leaves the Strode house to the waiting scrum of firemen/meat fodder is stunning and only one such example).
Recorded together they’re an engaging trio with Curtis and Greer filling up a lot of the track with recollections working on the film and other tidbits.
Dialog is firmly planted in the center channel and renders voices and effects with appropriate distinction. Detail is nice and sharp but never in that modern ‘overt’ way, DoP Michael Simmonds (Halloween 2018, Nerve) continuing to ape original DoP Dean Cundey’s ( Jurassic Park, Halloween 1978, The Thing) use of anamorphic lenses (to give that crystal clear central image with then slight blurring as the image moves away and towards the sides of the screen). It has become a cult classic which spun off seven sequels, including a Rob Zombie remake and the upcoming installment which hits theaters next month. These range from 53 seconds to 11 mins each, they may as well have made it one bonus feature, Play All can be selected. And even its controversial ending, hinting at something altogether grander and stranger, seems to be giving us a nice twist on Michael for this year’s Halloween Ends.
Yellows pop nicely, and blues get a few choice moments with emergency vehicle lights and that antiseptic green/blue tint at the hospital. Think The Matrix Reloaded where you get a lot of great action sequences and setup for the final adventure . My HT: Screen: Custom 132," Projector: Sony VPLVW715ES 4K SXRD, Receiver: Marantz SR 8015 4K/8K, Player: Panasonic DPUB 9000P1K, Speakers: Origin Acoustic-Origin Acoustic Composer THTR67 In-Wall Speaker. Judy Greer, Andi Matichak, and Will Patton also reprise their roles from the previous film, with Anthony Michael Hall and Thomas Mann joining the cast.
The idea of the Haddonfield Mob could have been something if that “Evil Dies Tonight” theme hadn’t been so overworked. Taking the bold step of slicing out nearly 40 years of sequel/remake history, the 2018 film was a fresh and bloody restart.Principal photography began in September 2019 in Wilmington, North Carolina and concluded that November. With flashbacks to 1978 and an opening that plays in tandem with the events of the 2018 film, Halloween Kills is more like a collection of extended prologue and epilogue scenes than a unique story. On first watch at the cinema, the side-lining of Laurie Strode and the meandering jaunt through Haddonfield with its near comedic rent-a-mob rendered the film a disappointment. Going into Halloween Kills , expectations were understandably high for where the franchise would go next. The mixture of new and original music, recreated sets and even cherished characters from 1978 make this a good sequel to see, Myers is ruthless and relentless providing expected and creative kills making it a fun ride, later on the film wonders off into the dangers and stupidity of mob mentality territory, with the chanting of “Evil dies tonight” becoming tiresome and the grown up Tommy (babysat by Laurie Strode in 1978) running around like Rambo is quite comical and out of place.
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