Michael Myers (aka The Shape) in ‘Halloween Ends,’ directed by David Gordon Green.
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Miramax has bought the rights to make TV series based on John Carpenter’s ‘Halloween’ concept.
The deal is with the company that also owns the movie rights, so that could indicate more movie plans.
Other companies such as A24 and Blumhouse were also interested in securing a deal.
Having stalked cinema screens off and on since he first debuted in John Carpenter’s landmark horror ‘Halloween’ back in 1978, Michael Myers could be forgiven for thinking he’d earned a nice long snooze before picking up his knife (or whatever else comes to hand) again for more murderous rampages.
Yet despite being the subject –– well, alongside his most usual target, Laurie Strode –– of a movie trilogy from David Gordon Green that started with 2018’s eponymous legacy sequel, it looks like he’ll be back for more, and this time on the small screen.
How so? Miramax has now locked in a deal to buy the rights to make a TV series (probably more than one) based on the basic ‘Halloween’ story from Malek Akkad’s Trancas International Films, which produced the most recent trilogy.
The new deal gives the company the option to craft TV properties from any elements of the ‘Halloween’ movie story and may even end up in it being able to forge a new cinematic universe around the characters, since that’s what people still seem to want to do these days.
Miramax speaks out about the ‘Halloween’ deal
Jamie Lee Curtis in 2018’s ‘Halloween.’
Here’s what Miramax’s Head of Global TV Marc Helwig said about the deal in a statement run on Deadline:
“We couldn’t be more excited to bring Halloween to television. We are thrilled to expand our long and successful partnership with Trancas and the brilliant Malek Akkad in introducing this iconic franchise to a new form of storytelling and a new generation of fans.”
For his part, Akkad seems just as enthusiastic:
“Trancas International Films is extremely enthused to be expanding our long-standing relationship with Miramax, and we look forward to working with Marc Helwig and the entire team in creating this new chapter.”
Where other companies interested in the ‘Halloween’ rights?
(L to R) Michael Myers (aka The Shape) and Jamie Lee Curtis as Laurie Strode in ‘Halloween Ends,’ directed by David Gordon Green.
Miramax was not alone in pursuing the Myers rights – though no one is officially commenting, Deadline heard that other companies had been looking to snap up the chance to make more from ‘Halloween’.
A24 and Blumhouse (which oversaw the most recent trilogy) were among those making bids and pitches for the rights, and the latter in particular makes sense considering its history with the subject.
As for what will become of the new show, that’s anyone’s guess at this point –– could it be an expanded universe gamble like MTV’s ‘Scream’ series?
Inspired by the classic theme park ride, Disney’s ‘Haunted Mansion’ is a fun adventure filled with ghastly frights. Directed by Justin Simien (‘Dear White People’), the tale takes place inside a New Orleans manor where a mother and her son stumble upon the 999 happy haunts. This all-age film strikes a good balance of humor and horror with an adequate amount of jump scares that are perfect for the younger audience.
This isn’t the first time the classic ride got the live-action movie treatment. Eddie Murphy starred in the 2003 ‘The Haunted Mansion,’ but the film was criticized by both critics and audiences alike. The 2003 film received a 13% critics score and a 31% audience score on Rotten Tomatoes. The mansion has also been featured in ‘Muppets Haunted Mansion,’ a Halloween special that was released on Disney+.
Aside from the lore of the ghosts, there is an unexpected story of loss and grief. Ben Mathis (LaKeith Stanfield) was very passionate about his work in the paranormal until a tragic event that led to the loss of his wife. Ben became bitter and morose, giving up on his work in the paranormal until Father Kent recruited him to investigate the mansion. Throughout the film, it is revealed why certain spirits are drawn towards Ben and other individuals with a similar story.
The official synopsis for ‘’Haunted Mansion” is below:
Inspired by the classic theme park attraction, Haunted Mansion tells the story of Gabbie (Rosario Dawson), a single mom, who discovers that the home she and her son share is haunted by irksome ghosts. Hoping to restore domestic tranquility, Gabbie recruits a motley crew of so-called spiritual experts to help rid the house of the supernatural squatters.
The movie did a great job of adapting the fan-favorite attraction onto the big screen to include many Easter Eggs. Pulling distinguished scenes directly from the ride, such as the Stretching Room and its portraits, the endless hallway, the seance room, and the ballroom scene.
The film also highlighted characters such as Madam Leota (Jamie Lee Curtis), The Hatbox Ghost (Jared Leto), the hitchhiking ghosts, Constance the Bride, and more as some of the spirits haunted Gabbie and crew.
Director Justin Simien was a former Disney cast member, and with the Haunted Mansion being one of his favorite attractions from the theme park, he and writer Kate Dippold made sure the mansion was presented in its truest fashion.
‘Haunted Mansion’ premiered on July 15, 2023, at Disneyland in Anaheim, California and was released domestically on July 28, 2023. The film is no longer in theaters, as it has passed the 45-day theatrical window and is making its way to digital and streaming.
Where to Watch: ‘Haunted Mansion’ Online
The movie will be streaming on Disney+ starting October 4 and available for purchase on platforms such as Prime Video, Google Play, Apple TV, Vudu, YouTube, and more. ‘Haunted Mansion’ has a total runtime of 2 hours and 3 minutes.
Watch the official trailers for ‘Haunted Mansion’ below:
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For those who prefer to bring the film home in physical media, Disney’s ‘Haunted Mansion’ will be available on Blu-Ray and DVD on October 17. It will include never-before-seen bonus features and featurettes such as:
In Disney’s ‘Haunted Mansion,’ Gabbie and her son Travis have just barely moved into their brand new home when they realize something more sinister is afoot. As they continue to encounter the unruly ghosts that haunt the property, they seek help from an unlikely group of spiritual experts to rid them of the spooky souls once and for all.
‘Haunted Mansion’ is a love letter to the iconic theme park ride, filled with references and Easter eggs that will satisfy longtime fans. The horror element is just light enough for a younger audience, with adequate jump scares and ghastly images. LaKeith Stanfield gives a standout performance as Ben, who has an unexpected story of loss and grief that serves as the emotional core of the movie. However, the film focuses on too many storylines, causing the pacing to be uneven.
The screenplay was written by Katie Dippold and directed by Justin Simien, a former Disneyland Cast Member. Unlike the 2003 ‘The Haunted Mansion’ starring Eddie Murphy, which portrayed the mansion in a more cartoony manner, the 2023 adaption properly showcases the Haunted Mansion that is known amongst parkgoers. Essentially, the mansion is a character in itself and is highlighted as so.
In the trailer, the story seemed to center on Gabbie and Travis, the newest residents of the mansion. However, the main focus is really on Stanfield’s Ben Mathis. At the beginning of the movie, Ben is passionate about his work with the paranormal, creating a special camera that spots spirits. Due to unforeseen circumstances, which are later discovered at the end of the second act, a morose Ben emerges, having given up on his supernatural career.
Using Ben’s story and connecting him to the mansion is quite clever. Father Kent, who had heard of Ben’s work, comes to him with a well-compensated offer – to use his special camera to capture the spirits on film. It is only then Ben agrees to visit Gabbie and Travis at the mansion. At first, Ben tries to remain unphased and skeptical through every supernatural encounter. It isn’t until an unexpected spirit that begins making waves in his every life he is forced to return to the mansion. With the help of psychic Harriet, Father Kent, and Professor Bruce, Ben searches for answers on why Gabbie’s new home is a hotspot for ghosts.
By telling Ben’s unexpected story of loss and grief, it provides a deeper meaning than just a cursed manor. It dives into the history of the mansion and the fascinating origins of several spirits that reside there.
Haddish’s hilarious performance stood out with the best story arc. Initially, she was an insecure medium who didn’t feel strong enough to battle the big bad of the mansion, but she came into her own after proving herself capable. Though Haddish’s Harriet was entertaining, the same could not be said with the other characters’ various storylines. There were just too many stories to keep up with, which felt convoluted and unnecessary.
Just like the ride, ‘Haunted Mansion’ has to strike that perfect balance of humor and horror. It succeeds in most parts, giving solid jump scares and eerie elements. However, many emotional scenes were met with a lighter moment to break up the tension. It isn’t uncommon to use this approach in film, though the jokes that follow a heartfelt moment come too quickly, leaving those emotional scenes feeling less meaningful.
When a movie is based on an iconic theme park ride such as ‘Haunted Mansion,’ fans will expect to see references and Easter eggs. What this movie does so well is that it gives nods to the ride without feeling out of place. It happens naturally as the characters explore parts of the mansion and learn of its history rather than being shoehorned in for the purpose of an Easter egg.
Here are some of the Easter eggs you can expect to see:
Fans of the ride will certainly enjoy seeing the iconic Haunted Mansion being properly featured and highlighted on the big screen. Every Easter egg and reference spotted will leave a smile on your face. Stanfield is fantastic in this role, bringing much heart with his emotional performance. The pacing and tonal shift are uneven as it tries to find the balance between humor and horror and juggling too many storylines. Although it is definitely better than the 2003 adaptation and a bit ambitious with the all-star cast, it is still entertaining and fun for all ages.
(L to R) Jamie Lee Curtis as Deirdre Beaubeirdre, and Michelle Yeoh as Evelyn Quan Wang in A24’s ‘Everything Everywhere All at Once.’
Watch out MCU! There’s a different kind of multiverse in town, complete with hot dog fingers.
‘Everything Everywhere All At Once’ has taken this awards season by storm. The A24 movie won big at the Critics’ Choice Movie Awards including Best Picture, Best Director, Best Supporting Actor, Best Original Screenplay, and Best Editing. The film’s leading stars Michelle Yeoh and Ke Huy Quan won the Golden Globes for Best Actress and Best Supporting Actor respectively, and co-star Jamie Lee Curtis took home the award for Best Supporting Actress. The movie swept at the Screen Actors Guild Awards with Michelle Yeoh and Ke Huy Quan being the first Asian actors to win in the film category.
All (googly) eyes were on ‘Everything Everywhere All At Once’ as the 95th Academy Awards drew near. The film was nominated for 11 awards including Best Picture, Best Director, Best Actress, Best Supporting Actor, Best Original Screenplay, Best Original Score, Best Original Song, Best Costume Design, and Best Film Editing. The film won in 7 categories including Best Actress (Michelle Yeoh), Best Supporting Actor (Ke Huy Quan), Best Supporting Actress (Jamie Lee Curtis), Best Original Screenplay, Best Film Editing, Best Director, and Best Picture.
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In the wild trailer for ‘Everything Everywhere All At Once’, we see Michelle Yeoh (‘Shang-Chi And The Legend Of Ten Rings‘) not just as an exhausted immigrant mother Evelyn Wang, but also as a movie star, a martial artist, and many other variants from different universes.
The film is written and directed by Daniel Kwan and Daniel Scheinert, collectively known as “The Daniels” and it is described as “a big-hearted sci-fi adventure about an exhausted Chinese American woman (Michelle Yeoh) who can’t seem to finish her taxes”. And this is just in one universe. Throughout the movie, we meet many variants of the characters from parallel universes as every life choice creates a new alternative universe. Evelyn must work with the Alpha-verse variant Waymond to save the multiverse from Jobu Tupaki, a variant of Evelyn’s daughter, Joy.
Michelle Yeoh at the 95th Oscars on Sunday, March 12, 2023. The 95th Oscars will be held on Sunday, March 12, 2023, at the Dolby Theatre at Ovation Hollywood and will be televised live on ABC at 8 p.m. EDT/5 p.m. PDT.
Michelle Yeoh Making History
We have long enjoyed seeing Michelle Yeoh’s incredible work on the big screen. From executing death-defying stunts in ‘Supercop’ to the poised and formidable Eleanor Young in ‘Crazy Rich Asians’, Yeoh has over 60 movie and television credits under her belt. Playing Evelyn Wang in ‘Everything Everywhere All At Once’ gave Yeoh a chance to show off her incredible range. In an interview with the LA Times, she speaks about being approached by The Daniels for the role:
“The first thing is you feel like, ‘Finally, thank you. You guys see me, you guys really see, and you’re giving me the opportunity to show that I’m capable of doing all this.’ As an actor, you need the opportunity. You need the role that will help you showcase what you are capable to do.”
Yeoh’s win for outstanding performance by a female actor in a leading role at the Screen Actor’s Guild made her the first Asian woman to win in the film category. She is also the first woman to be identified as Asian to be nominated and win for Best Actress at the 95th Academy Awards.
Ke Huy Quan poses backstage with the Oscar® for Actor in a Supporting Role during the live ABC telecast of the 95th Oscars® at Dolby® Theatre at Ovation Hollywood on Sunday, March 12, 2023.
Many will recognize Ke Huy Quan from his role in the 1984 film ‘Indiana Jones And The Temple Of Doom’ as Indy’s young companion Short Round. Quan also starred in the 1985 cult classic ‘The Goonies’ as the aspiring inventor Data. So why did Quan stop acting? In an interview with People magazine, the actor said he never intended to stop acting but there weren’t any roles for him.
“I was waiting for the phone to ring, and it rarely did.”
With little to no opportunities, Quan made the difficult decision to step away from acting. Instead, he focused on being behind the camera and became an assistant director and stunt coordinator. After seeing ‘Crazy Rich Asians’ he passion for acting reignited and he auditioned for ‘Everything Everywhere All At Once’. Not only did he land the leading role, he also performed his own stunts in the iconic fight scene in the movie armed with only his fanny pack.
With his triumphant return and a shiny Oscar statuette, Ke Huy Quan is landing roles left and right, including upcoming Disney+ series ‘Loki’ season two and ‘American Born Chinese’ (alongside EEAAO cast mates Michelle Yeoh and Stephanie Hsu), executive produced by Shang-Chi’s Destin Daniel Cretton.
(L to R) Stephanie Hsu, Michelle Yeoh, and Ke Huy Quan in ‘Everything Everywhere All at Once.’ Photo Credit: Allyson Riggs.
Where Can I Watch ‘Everything Everywhere All At Once?
The film premiere on March 11, 2022 at SXSW and had a limited release on March 25, 2022. It released nationwide on April 8, 2022 and has earned $106.7 million worldwide. You can still see the sci-fi action in theaters and it is worth seeing on the big screen. ‘Everything Everywhere All At Once’ has a total runtime of 2 hours and 20 minutes.
Watch the official trailer for ‘Everything Everywhere All At Once’ below:
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When Will It Be Available To Stream Online?
The movie is available for Showtime subscriber. The subscription starts at $11 a month. Alternatively, you can purchase the digital copy for $19.99 on other platforms.
Michelle Yeoh in ‘Everything Everywhere All at Once.’ Photo Credit: Courtesy of A24.
Other Films That Explore The Multiverse
‘Everything Everywhere All At Once’ is more than a multiverse-jumping sci-fi action movie. It also touches on family, relationships, the daily struggle and pressure of running a business. Complete with stunning visions and incredible fight choreography.
Check out the following films that explore an alternate universe:
Whether she’s gliding effortlessly over the top of trees in ‘Crouching Tiger, Hidden Dragon’ or jumping universes in ‘Everything Everywhere All At Once’, Michelle Yeoh has been in an extensive and impressive list of movies that is worth checking out:
Michelle Yeoh in ‘Everything Everywhere All at Once.’ Photo Credit: Courtesy of A24.
Awards season is rapidly reaching its endpoint with the Oscars just a couple of weeks away, and Sunday evening it was the turn of the Screen Actors Guild Awards to recognize performers’ work.
And like some other recent ceremonies, it was a case of some repeat winners continuing their triumph tour, with the likes of Michelle Yeoh and Brendan Fraser picking up more hardware for their trophy cabinets.
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Which awards did ‘Everything Everywhere All at Once’ win at the Screen Actors Guild ceremony?
‘Everything Everywhere All at Once’ has been on something of a rollercoaster ride this season and made SAG Awards history by becoming the first movie to win all four main film categories. The ensemble win was the icing on a cake that had already seen stars Michelle Yeoh, Ke Huy Quan (who has been getting up to accept plenty of awards this season so far) and Jamie Lee Curtis win.
The movie beat out ‘The Banshees of Inisherin’, which had been tipped to at least score something, given that Martin McDonagh’s film had earned the same number of nominations as ‘EEAAO’.
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What do the SAG Awards mean for the Oscars?
While they are limited in scope, the SAG Awards are certainly a boost for ‘Everything Everywhere’, which had lost out at a few recent ceremonies. Michelle Yeoh is still not a lock for Best Actress, but we can imagine bookies slashing the odds on Quan and ‘The Whale’s Fraser if they hadn’t already.
And finally, ‘Top Gun: Maverick’ picked up the Stunt Ensemble trophy, adding to its collection of largely technical recognition.
Monica Barbaro and Tom Cruise on the set of ‘Top Gun: Maverick’ from Paramount Pictures, Skydance and Jerry Bruckheimer Films.
Here is the complete film winners’ list:
Outstanding Performance by a Cast in a Motion Picture
Jennifer Coolidge in HBO’s ‘The White Lotus.’ Photograph by Fabio Lovino/HBO.
Who won the TV categories at the SAG Awards?
On the TV front, Mike White’s ‘The White Lotus’ continued its sweep of awards, while there was disappointment ahead for team ‘Better Call Saul’, as Jason Bateman won another trophy for ‘Ozark’.
‘Abbott Elementary’ kept up its own win tally, though the show’s creator and star Quinta Brunson was pipped to the Comedy Actress post by perennial winner Jean Smart of ‘Hacks’. Despite much appreciation for them both, ‘Only Murders in the Building’ duo Steve Martin and Martin Short lost out again, this time to ‘The Bear’s Jeremy Allen White.
As for the TV Movie/Limited Series awards, it was a case of movie stars doing TV as Sam Elliott took home the trophy for ‘Yellowstone’ prequel ‘1883’ and Jessica Chastain was named Best Female Actress in the category for ‘George & Tammy’. Plus, much like the movie categories, the SAG Awards are among the few awards bodies that recognize achievements in stunt work, and team ‘Stranger Things’ took that prize.
Here are the TV winners…
Outstanding Performance by an Ensemble in a Drama Series
There has been some disturbed chatter in the last couple of days about video game adaptation ‘Borderlands’, which ‘Hostel’ and ‘Cabin Fever’ director Eli Roth shot way back in 2021 (it was long enough ago that star Cate Blanchett has had time to shoot ‘Tár’, which has just hit theaters).
But with word that Roth has stepped away from the film ahead of some re-shoots, there was naturally concern that it’s all gone a little wrong and that the director has somehow been fired.
Lionsgate is stepping up to do a little damage control and now comes word via Deadline that it’s more to do with a schedule clash.
Roth, you see, is finally ready to make the full-length movie ‘Thanksgiving’, spawned from a fake trailer he made to contribute to Quentin Tarantino and Robert Rodriguez’ ‘Grindhouse’.
It was popular enough that there was talk of a full movie based on the trailer, but while Roth has sometimes mentioned it, he’s finally ready to make it a reality.
‘Thanksgiving’––in fake trailer form at least––features a slasher who makes his own carving board out of the inhabitants of a Massachusetts town during the annual turkey day. One of the pivotal scenes involved Roth himself, separated from his head while in the throes of passion with a date in a convertible.
(L to R) Director and actor Eli Roth and Brad Pitt in ‘Inglourious Basterds.’
Now, of course, there could be more to it than anyone is willing to admit––given the long post-production process of ‘Borderlands’, surely there has been time for Roth to schedule making ‘Thanksgiving’ so that it doesn’t clash with ‘Borderlands’. But movie shooting schedules can be tough to figure out with so much that needs to happen, so perhaps it really is just timing.
Still, the addition of Tim Miller––who last made ‘Terminator: Dark Fate’––is an interesting one. He’s got plenty of experience with the sort of effects load that might be involved in even re-shoots of something along the lines of the game adaptation.
‘Borderlands’ adapts the popular game title and stars Blanchett as Lilith, an infamous outlaw with a mysterious past, reluctantly returns to her home planet of Pandora to find the missing daughter of the universe’s most powerful man Atlas (Edgar Ramirez).
Lilith forms an alliance with an unexpected team – Roland (Kevin Hart), a former elite mercenary, now desperate for redemption; Tiny Tina (Ariana Greenblatt), a feral pre-teen demolitionist; Krieg (Florian Munteanu), Tina’s musclebound, rhetorically challenged protector; Tannis (Jamie Lee Curtis), the scientist with a tenuous grip on sanity; and Claptrap (Jack Black), a persistently wiseass robot.
These unlikely heroes must battle alien monsters and dangerous bandits to find and protect the missing girl, who may hold the key to unimaginable power. The fate of the universe could be in their hands – but they’ll be fighting for something more: each other.
Naturally, ‘Borderlands’ has yet to announce a release date, but it’ll certainly need to impress to keep up with the current trend of successful movies and shows based on games.
Cate Blanchett as treasure hunter Lilith in Lionsgate’s ‘Borderlands.’
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Kirstie Alley has died at the age of 71. Photo courtesy of Television Academy.
Kirstie Alley, who saw big success on TV and in cinema, has died. She was 71.
Kirstie Louise Alley was born in Wichita, Kansas in 1951. Graduating Wichita Southeast High School in 1969, she married her high school sweetheart, Bob Alley the following year and then attended Kansas State University for two years before moving out to Los Angeles to pursue an acting career and work as an interior designer to make ends meet. She also appeared on ‘The Match Game’ in 1979.
Her TV career began with small roles on shows such as ‘Quark’, ‘Masquerade’ and ‘The Love Boat’, but she would go on to huge fame after joining the cast of ‘Cheers’ to replace Shelley Long, who had decided to leave. As bawdy boss Rebecca, she was nominated for multiple Emmys and won in 1991, dedicating her win in a memorable speech to her then-husbandParker Stevenson.
Other small screen work included ‘Veronica’s Closet’, ‘Fat Actress’ (which riffed on her own real-life struggles with weight), ‘The Last Don’, ‘North & South’ and TV Movie ‘David’s Mother’, for which she won her second Emmy.
Kirstie Alley has died at the age of 71. Photo courtesy of Television Academy.
She’s survived by her son, William True Stevenson, daughter, Lillie Price Stevenson and a grandson. Her family put out a statement, which included the revelation of her cancer diagnosis.
“To all our friends, far and wide around the world… We are sad to inform you that our incredible, fierce and loving mother has passed away after a battle with cancer, only recently discovered,” said the family in a statement. “She was surrounded by her closest family and fought with great strength, leaving us with a certainty of her never-ending joy of living and whatever adventures lie ahead. As iconic as she was on screen, she was an even more amazing mother and grandmother.”
The statement continued: “We are grateful to the incredible team of doctors and nurses at the Moffitt Cancer Center for their care. Our mother’s zest and passion for life, her children, grandchildren and her many animals, not to mention her eternal joy of creating, were unparalleled and leave us inspired to live life to the fullest just as she did. We thank you for your love and prayers and ask that you respect our privacy at this difficult time.”
She was rarely far from controversy, partly for her membership and support of Scientology, which she credited for getting her sober and, in later years, for her apparent support of Donal Trump’s campaign. Still, she seemed able to put politics aside to make friends with co-stars and colleagues, including Jamie Lee Curtis, who paid tribute on Instagram.
The series, which started in 1978 with director John Carpenter‘s ‘Halloween,’ has spawned a dozen of movies that range from sequels to remakes, and even reboots.
With the Halloween holiday taking place this week, and with ‘Halloween Kills’ currently in theaters, Moviefone has ranked every ‘Halloween’ movie ever made!
When Busta Rhymes being a principle cast member is one of the least horrible things about your movie, well, you know you’re in deep doo-doo. After the success of “Halloween H20,” Dimension moved forward on a direct follow-up that undoes much of the charm of the previous film. It turns out that Laurie Strode accidentally killed a paramedic at the end of “H20” instead of Michael Myers! Whoops!
The mentally unstable Strode is now institutionalized and Michael attacks her in the asylum, eventually killing her and throwing her off the roof of the building. Please keep in mind that all of this happens in the first ten minutes of “Resurrection” and the rest of it is a dumb-as-heck riff on reality television where a group of goofballs are holed up in the old Myers house (now festooned with close circuit TV cameras). All of the action is clumsily choreographed by Rick Rosenthal, who you might remember as the guy that they fired from “Halloween II.” Yuck.
Following ‘Halloween Kills,’ the story moves on four years, as Haddonfield has enjoyed a time of relative calm after the disappearance of Michael Myers. Though the vibrating hum of tension is always present as an undercurrent, Laurie has done her best to move on with life. She’s living without a complicated security system, writing about her experiences and the nature of evil and trying to guide granddaughter Allyson (Andi Matichak), who is still suffering the psychological scars of her parents’ loss and trying to move on by working as a nurse at the local hospital.
But even as everyone looks to cope and heal, the town is set back on edge when Corey Cunningham (Rohan Campbell) accidentally kills the boy he’s babysitting. Though it’s a tragic mistake, the repercussions are devastating, turning Corey into an unwitting bogeyman and the target of bullies. Jamie Lee Curtis is thankfully handed more to do as Laurie this time, and of course she’s still fantastic as the haunted heroine we’ve come to know and worry about. Switching up her attitude once more works for the character, as she tries to put the past behind her and concentrate instead on a future for her and her family.
If the latter canonical “Halloween” sequels (pre-“H20”) leaned a little too heavily into the mystical side of Michael Myers, then Rob Zombie‘s highly touted reboot goes too far in the opposite direction, as he strived to provide a psychologically grounded explanation for Myers’ madness. And the results were … iffy.
Failing to understand just how much of the character’s power lies in his unknowable mystique, Zombie’s “Halloween” focuses mostly on Michael Myers’ childhood, as he tortures animals, faces bullies at school, and is abused at home. And then, suddenly, in the last act, it shifts into a straight-up remake of the original film. It feels both incredibly risky and very safe and, in the end, quite boring, sadly.
The previous installment in the franchise clearly ended on a cliffhanger and an obvious attempt at building out the world, but the sixth film, “Halloween: The Curse of Michael Myers,” wouldn’t happen for another six years. This installment doubles down on the mystical woo-woo that the previous films introduced, folding in elements of 1981’s “Halloween II” (there’s an extended hospital sequence) and a subplot about a mystical cult and the pagan “Curse of Thorn.”
Perhaps notable for its introduction of a young, squirrely Paul Rudd (who plays Tommy Doyle, one of the kids Laurie babysat for in the original film), for years a superior “producer’s cut” was talked about and shared at horror conventions. Spoiler alert: it’s pretty different but it’s not that much better. (It’s still awash in unnecessary backstory that would ultimately sink Rob Zombie’s remakes.)
You could tell that the franchise was hopelessly out-of-date, and that was before considering that it opened the same weekend as David Fincher‘s groundbreaking “Seven.” Barry kicks ass, though.
“Halloween 5” doubles down on a lot of things established in “Halloween 4” (the centralized role of Michael’s niece Jamie Lloyd, here traumatized from the events of the previous movie, the idea of multiple people dressed as Myers, Loomis’ unhinged pursuit) while adding even more to an increasingly cumbersome mythological stew (Jamie and Michael’s connection is more openly supernatural, a shadowy cult is introduced).
If these elements had been woven into the already established framework more elegantly, or if they were in service of a storyline that needed such embroidery, it would be one thing, but “Halloween 5” is pretty dopey (and we haven’t even mentioned the keystone cops-type music that plays when local law enforcement shows up). Smash this pumpkin.
This was supposed to be the new template for the franchise – that every year a new entry would focus on a different aspect of Halloween. Michael Myers would be retired and we’d get a big, splashy, cinematic equivalent to “The Twilight Zone.” Except that didn’t happen. Instead, “Halloween III: Season of the Witch” was indifferently received and, well, you know the rest.
It’s an inventive, gonzo, occasionally quite shocking little occult thriller with an ingenious script by British legend Nigel Kneale and director Tommy Lee Wallace (a Carpenter confederate who had served as art director and production designer for the first film) and one of the best scores of the series (by Carpenter and Alan Howarth).
After Laurie, Karen and Allyson leave the masked monster Michael Myers caged and burning in Laurie’s basement, Laurie is rushed to the hospital with fatal injuries, believing she has finally killed her algorithm. But when Michael manages to free himself from Laurie’s trap, his bloodbath ritual begins again. As she fights her pain and prepares to defend against it, she inspires everyone in Haddonfield to rise up against The Shape.
Zombie said that he felt liberated by the fact that he wasn’t beholden to the “Carpenter-ness” of remaking the first film. And you can tell. Gone are any pretext of the floating, widescreen, Steadicam-assisted beauty of Carpenter’s film (or Zombie’s remake); instead, it’s replaced with shaky, handheld 16mm. Gone, too, is much of what made Zombie’s first film such a drag.
Michael isn’t intellectualized, but rather given a simple, effective mommy complex that’s accompanied by suitably dreamlike imagery. Of course, the filmmaker isn’t above cribbing from “Halloween II,” including the hospital setting and familial twist. But that seems like a secondary concern to Zombie, who makes this film his own in ways that he felt too intimidated by the first time around. It’s not for everybody, but that’s part of its charm.
Conceptually, “Halloween H20” is a lot more fun than it actually wound up being. Discounting the events of the fourth, fifth, and sixth films, it would serve as a direct sequel to the second film, with Laurie Strode (Jamie Lee Curtis, back for more) living in hiding and teaching at a prestigious boarding school. (Okay.) Clearly intended to cash in on the revived slasher craze (started by “Scream,” which directly referenced “Halloween” and whose screenwriter, Kevin Williamson, was involved heavily with “H20”), the film is largely unimaginative and a waste of Curtis’ considerable talents.
Slack direction from Steve Miner gives a talented young cast (including Michelle Williams and Joseph Gordon-Levitt) very little to do. Also, the filmmakers had an infamously hard time getting the iconic mask right, resulting in several variations that were swapped out during production, including the utilization of an unsightly CGI version.
After producers rejected a pitch from Carpenter that would have followed two of the young kids from the first movie (now babysitter-aged themselves), with a bloody climax at a drive-in movie theater, they settled on something more conventional. “Halloween 4” sees Michael Myers return for the first time since the second film; this time, he’s hunting Jamie Lloyd (Danielle Harris), Laurie Strode’s young daughter.
There are some nice flourishes to the film, including Jamie’s decision to wear a clown costume eerily similar to the one when Michael killed his older sister all those Halloweens ago, but these are largely undermined by WTF-worthy character motivation and Dwight H. Little‘s basic-cable action movie direction (that man is not much of a stylist). Still, pretty good twist ending.
In a weird way, “Halloween II” is just as influential as the original. Its hospital setting has not only inspired other entries in the franchise (the sixth installment and Zombie’s “Halloween II” owe a debt) but it’s also inspired the genre as a whole, with the sequel-set-in-a-hospital idea utilized by everything from “Scream Queens” (on TV) to the underrated horror comedy “Final Girls.” Other than that, there’s not much to love about the half-baked sequel.
Sure, original screenwriters Carpenter and Debra Hill returned but were mostly out of ideas. In fact, the idea of Laurie Strode (a returning Jamie Lee Curtis) being Michael’s sister was thrown in at the last minute and not something planned by either filmmaker. (Oddly, it basically formed the basis for the rest of the franchise, including the remakes; the 2018 film wisely omits this plot point.) At some point during production, original director Rick Rosenthal was removed, leaving Carpenter to shoot key sequences. Scary.
40 years after Laurie Strode first faced down Michael Myers, Jamie Lee Curtis returns to the franchise for a “Halloween” that feels fresh, funny, irreverent, surprising, and totally topical. Her Strode has calcified into a wary survivalist, waiting for the day that her psychotic stalker returned. In this film, he does, and the results are spectacular.
Largely ignoring the increasingly convoluted mythology of the sequels (including “Halloween II,” so say bye-bye the Laurie-is-Michael’s-sister nonsense), co-writer/director David Gordon Green instead crafted a keenly aware and deeply entertaining back-to-basics follow-up that thoughtfully grapples with the way that violence and trauma can ripple through whole generations. This is the rare sequel that can stand proudly alongside the original, four decades later.
It cannot be overstated what a monumental event the release of John Carpenter’s “Halloween” really was. Originally envisioned as a low budget cheapie, this classic is elevated by Carpenter’s commitment to craft and his dedication to getting fully realized performances out of his mostly young cast (led by Jamie Lee Curtis). For a while, “Halloween” was the most successful independent feature of all time. It not only inspired a 40-year-old franchise but also countless imitators (some of them good, most of them bad), reinvigorating the slasher franchise for generations to come.
Wonderfully entertaining and craftily made, “Halloween” remains as thrilling and artful today as it was in 1978. Much of this has to do with its simplicity. In following a group of teenagers as they are terrorized by a local murderer (who killed his older sister on Halloween night when he was just a child), Carpenter made a template simple enough to follow but roomy enough to allow for social, political, and cultural subtext.
If “Halloween” was anything less than a masterpiece, we wouldn’t still be talking about it today.
You may recall that Green sought to up the mayhem levels in his last outing, 2021’s ‘Halloween Kills’. That film saw mob violence overtake the town of Haddonfield Illinois and largely sidelined Jamie Lee Curtis’ Laurie, hospitalized after her latest brutal encounter with Michael Myers (played by both James Jude Courtney and Nick Castle).
While it was a big swing in terms of the mythology, it didn’t quite work, coming across as unfocused and chaotic, and robbing the movie of its personal vengeance connection. It tried to balance that out by (spoiler alert for anyone who hasn’t seen the movie) killing off Laurie’s daughter Karen, played by Judy Greer.
‘Ends’ moves the story on four years, as Haddonfield has enjoyed a time of relative calm after the disappearance of Michael Myers. Though the vibrating hum of tension is always present as an undercurrent, Laurie has done her best to move on with life.
Andi Matichak as Allyson in ‘Halloween Ends,’ co-written, produced and directed by David Gordon Green.
She’s living without a complicated security system, writing about her experiences and the nature of evil and trying to guide granddaughter Allyson (Andi Matichak), who is still suffering the psychological scars of her parents’ loss and trying to move on by working as a nurse at the local hospital.
But even as everyone looks to cope and heal, the town is set back on edge when Corey Cunningham (Rohan Campbell) accidentally kills the boy he’s babysitting. Though it’s a tragic mistake, the repercussions are devastating, turning Corey into an unwitting bogeyman and the target of bullies.
And when he makes an unexpected connection with Allyson, their traumatic histories drawing them together, things become even more complicated, forcing Laurie to act.
Of course, by this point, you’re probably wondering how Michael Myers factors into all this – but we’ll not reveal that for the sake of keeping the movie’s secrets.
(L to R) Jamie Lee Curtis and director David Gordon Green on the set of ‘Halloween Ends.’
Suffice to say, this once again represents Green, plus co-writers Danny McBride, Chris Bernier and Paul Brad Logan, still trying new ideas within the existing ‘Halloween’ mythology. But as with ‘Kills’, the results are severely mixed.
Curtis is thankfully handed more to do as Laurie this time, and of course she’s still fantastic as the haunted heroine we’ve come to know and worry about. Switching up her attitude once more works for the character, as she tries to put the past behind her and concentrate instead on a future for her and her family.
But of course, she can never quite put Michael Myers out of her mind, given all the pain and suffering she’s endured at his hands (and knives).
The emphasis, though, is less on her than it is on Matichak and Campbell. And while they try to make the unexpected partnership work, there’s often the creeping feeling that you’re watching people act a certain way because the movie demands they do, not out of logic. Certain actions you can understand, but as the narrative goes to more extreme ends, it becomes less easy to comprehend.
(L to R) Jamie Lee Curtis as Laurie Strode, and Rohan Campbell as Corey Cunningham in director David Gordon Green’s ‘Halloween Ends.’
Campbell’s Corey is at least an interesting addition to the story, a young man pushed to extraordinary behavior by guilt, grief and the local community’s reaction to him. He’s got a haranguing mother and an indulgent quiet-spoken father, so there are added layers to how he’s gotten to this point and what happens when he decides he’s been pushed too far.
As for others in Haddonfield, there are brief, human moments for Kyle Richards’ Lindsey and particularly Will Patton’s Hawkins, who fosters his tentative feelings for Laurie. But while the story is fortunately trying to juggle far fewer balls this time, there’s still the feeling of not quite hitting all its targets.
On a subtextual level, there are attempts here to reflect on the effects of trauma and the continuing injuries that no one can see or comprehend. And in slightly clunky voice-over as she continues writing, Laurie muses on the nature of evil.
For those after a slasher movie – because, after all, isn’t that what we really want from a ‘Halloween’ installment? – there could be some disappointment, at least until the slaying starts. But while it was Laurie in the background in ‘Kills’, here it’s her nemesis, which can be disappointing (again, we won’t go into details).
Jamie Lee Curtis as Laurie Strode in director David Gordon Green’s ‘Halloween Ends.’
Musically, ‘Ends’ is of course up to the task, with franchise founder John Carpenter once more providing the score, all electronic terror and creeping notes.
As shot by Michael Simmonds, who was cinematographer for both ‘Halloween’ and ‘Halloween Kills’, Haddonfield here is at least authentic looking (albeit with suburban Illinois played by Georgia and Utah) and there are some fantastic visual moments.
Green has also not lost his talent for building tension. There’s less of it here than in the previous two movies, but he and his team are adroit at designing sequences that quicken the pulse. Yes, there are the usual fake-outs and jump scares, but Green doesn’t lean on them.
Without going into specifics, ‘Ends’ truly does aim to wrap a bow on at least Green’s take on the franchise but pushed to slightly ridiculous levels. The result is a movie that succeeds more than ‘Kills’ but never lives up to the promise of the director’s first film featuring Laurie vs. Michael.
‘Halloween’ as a franchise never truly ends (no matter how many times Michael has died – or appeared to), but this particular conclusion is never as satisfying as it might have been, and that’s a shame.
‘Halloween Ends’ receives 2.5 out of 5 stars.
Michael Myers (aka The Shape) in ‘Halloween Ends,’ directed by David Gordon Green.
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Set four years after the events of ‘Halloween Kills’ and Michael Myers last rampage, the new movie finds Laurie living a quiet life with her granddaughter Allyson (Andi Matichak). But when Corey Cunningham (Rohan Campbell) is accused of killing a boy he was babysitting, it will force Laurie to finally confront the evil she can’t control, once and for all.
Moviefone recently had the pleasure of speaking to Andi Matichak and Rohan Campbell about their work on ‘Halloween Ends,’ their characters, the plot, and working with director David Gordon Green.
(L to R) Rohan Campbell and Andi Matichak star in ‘Halloween Ends,’ co-written, produced and directed by David Gordon Green.
You can read the full interview below of click on the video player above to watch our interviews with Matichak, Campbell, and Kyle Richards.
Moviefone: To begin with, Andi, Allyson went through a lot in ‘Halloween Kills.’ What is she doing when we catch up with her at the beginning of ‘Halloween Ends?’
Andi Matichak: What is really wonderful is that there is that four-year time jump. So, we had a lot of attention to detail and a lot of care went into figuring out what happened and where she goes on that journey in that four-year period that as an audience you do not see. When you meet Allyson in this new version, she’s seemingly quite okay.
She is trying to live a pretty normal life and holds a job and just has this kind of stoic facade. The thing about trauma and the thing about pain and tragedy is it kind of lives within you. Even if you’ve done the work, done the healing and moved on in the best way you can, it still is right under the surface. As new characters emerge and new relationships blossom, it’s kind of tested and you start to get a peek underneath, which is really a fun exploration of character.
MF: Rohan, what does it mean to you to be a part of this movie and join the ‘Halloween’ franchise?
Rohan Campbell: It’s crazy. It’s just incredible. I mean, obviously I’m a massive fan of John Carpenter’s ‘Halloween.’ It was one of the first horror movies I ever watched. It’s a crazy thing because the opportunity comes and you’re so excited. I was so amped.
Then you show up on set and you’re actually making a ‘Halloween’ movie and you freak out. You’re like, “What am I doing here? This is crazy!” It’s just an honor. I’m so grateful and it’s just been the most special experience of my life so far.
(L to R) Director David Gordon Green, Andi Matichak and Kyle Richards on the set of ‘Halloween Ends.’
MF: Andi, what was it like for you to reunite with director David Gordon Green after making the last two ‘Halloween’ movies with him?
AM: He is an incredible filmmaker. This to me is really David Gordon Green’s stamp on the franchise. This is him personified in a movie and albeit a ‘Halloween’ movie. It is an incredible film. I have a deep appreciation for it, largely because I do feel like it’s so close to David’s heart. He’s such a blast to work with.
MF: Finally, Rohan, what was your experience like working with David Gordon Green on this project?
RC: I think when I first watched the film, I had an experience where the movie’s end credits are rolling, and I said, “I don’t think I’ve ever experienced a movie with a tone like this.” I realized it’s just the purest part of David coming out in cinema. It’s such a wild ride and I can’t wait for people to watch it.
(L to R) Allyson (Andi Matichak) and Corey (Rohan Campbell) in ‘Halloween Ends,’ co-written, produced and directed by David Gordon Green.
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