film reel image

film reel image

Sunday, October 17, 2021

Halloween Kills 2021 * * * Stars


Halloween Kills is a sequel of a sequel of an original of a sequel. Just kidding. But seriously though, "Kills" is the twelfth film in the Halloween franchise canon. Its story picks up right where 2018's Halloween left off. Halloween Kills, well it's an appropriate title. Michael Myers (the bad guy, duh) "kills" just about everybody in this flick. We're talking recurring characters, new characters, long-lost cameos, and paper mache denizens just waiting for the slaughter. He even comes off as an action star doing some serious Van Damage. "Evil dies tonight". Uh, not exactly (spoiler).

Halloween Kills is also made for the die hard fandom of Halloween franchise mongers everywhere (I'm kinda one of them). It bleeds nostalgia, weaving tons of persona arcs, new revelations, and story-lines from Halloween in Haddonfield circa 40 years ago. 

As a modern-day follow-up, "Kills" has huge intentions and grated enthusiasm. It doesn't want to be middle-of-the-road stuff (like tons of other direct-to-video swipe). Director David Gordon Green's vision rather, is to be faithful and further the origins of Halloween's fanciful notion from 1978. Heck, even Donald Pleasence shows up CGI-style (it's an impressive feat). 

Helmer Green goes a little 70s with a few zoom shots in "Kills". He also gives Jamie Lee Curtis a pseudo break from raged vengeance and lets Anthony Micheal Hall's Tommy Doyle get his angered revenge on (welcome back Gary Wallace). Halloween Kills doesn't have the most creative "kills" in the series (that honor goes to 1981's Halloween II). It's still pretty violent and the blood, well it flows like Merlot-d red wine. 

"Kills" is a decent combination of brains and well, brains (of the squishy kind). It's truly the dark second act of a trilogy that will give us Halloween Ends in 2022 (no happy ending here folks). Based on the box office take of these new Halloween endeavors, there's always more tricks to be treated. 

Written by Jesse Burleson

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