3.5 stars out of 5
After the real-life horror in Pittsburgh last weekend, I thought some old-school fictional horror might do me some good. It was only a few years ago when I sat down and really watched the original 1978 Halloween as an adult. So with that and a quick Wikipedia refresher, I was all ready for this 40-years-later sequel.
I didn’t know what to expect from co-writer Danny McBride in the horror genre. But from recently watching the fine 2003 film All the Pretty Girls (thanks for the heads-up, Iron & Wine liner notes!), written and directed by McBride’s frequent partner David Gordon Green, I felt confident they could avoid silliness. And they have.
The movie starts perfectly, in the most believable fashion: A true-crime podcast is revisiting the case of Michael Myers. And then we get a very-70s-looking title sequence, accompanied by John Carpenter’s iconic theme.
I was 14 when Trading Places came out, so that was my Jamie Lee Curtis moment. (Va-va-voom.) And how awesome that she’s still married to Christopher Guest. But it’s been a long while since Anything But Love, and all I knew was that she’s been shilling poop yogurt. Nevertheless, Curtis easily slips back into the role of Laurie Strode, damaged but unbroken. And tough as nails.
Judy Greer continues her hot streak as Laurie’s estranged daughter (for how you Americans say, eet ees eh strange situation). Toby Huss is Judy’s husband; he’s OK but I prefer him as the voices of Kahn and Cotton on King of the Hill than as a real-life dude. There’s a breakout performance by Andi Matichak as Laurie’s granddaughter (!), Allyson.
All the teen sequences feel pretty real, and the requisite babysitting scene (it’s Halloween, natch) has some hilarious dialogue smartly delivered by young Jibrail Nantambu. I’m guessing McBride was primarily responsible for that writing, as well as two officers in a police car discussing lunch. But this wisely never becomes a comedy, and McBride limits himself to only a few marijuana references. Good boy.
There’s a pleasing rawness to the proceedings, well-built tension and quality slasher release, and a real feeling of empowerment watching Curtis kick ass. The door is left open for a sequel — well duh — and I’d love to see Matichak return in part II. It would be a… treat.
Jack Silbert, curator