- Director: Steve Miner
- Starring: Jamie Lee Curtis, Adam Arkin, Janet Leigh, Josh Hartnett, LL Cool J, and Joseph Gordon-Levitt (as hockey-skate face).
- Writer(s): Robert Zappia and Kevin Williamson (uncredited)
An Argument for Halloween H20: 20 Years Later
The Halloween franchise is a complete mess. Ever since Michael Myers first (Laurie) strode onto the screen, audiences have had an interest in seeing more of the Shatner-faced antagonist in their film diet (and I do say interest because I feel as though most of the hype surrounding these franchises are literally manufactured by studios to continue the acquisition of wealth via franchise pillaging).
The first film in the franchise, Halloween (1978) is a masterpiece of genre filmmaking, but certainly not the first, as its predecessor, Black Christmas (1974), is an insanely underrated slasher film. Nevertheless, it still sets the tone for horror movies today and pushed the genre into the general public’s canon of interests. Hopefully, it will have a lasting impression on indie-horror for generations to come (hopefully).
Yet, the films that follow the original get a little weird and mundane. Halloween II (1981) is a rehash of the first movie…and it is just not a good film. Donald Pleasence running around to the passenger side of a police car in the beginning of the film while screaming, “I shot him six times! I shot him in the heart! I shot him six times! This guy…he’s not human!” is both disappointing for expository purposes, and it’s disappointing to watch someone try to act those lines…even if it’s Donald Pleasence.
Halloween III: Season of the Witch (1982) is clunky and a little random (I do love it though, but it really should be its own thing), even though it oozes atmosphere and a batshit-insane plot. Halloween 4: The Return of Michael Myers (1988), Halloween 5: The Revenge of Michael Myers (1989), and Halloween: The Curse of Michael Myers (1995) all demonstrate how a horror movie franchise can degrade into the banality of a slasher orgy that rivals the likes of the later Nightmare on Elm Street and Friday the 13th films. The film series also gets into Druid curses as a plot point, which is weird, but it may be the only thing I appreciate about that trio of films because at least it’s innovative.
Halloween: H20 (1998), however, does everything the original Halloween did in regards to atmosphere and horror, and builds upon fear and tension without using an abundance of jump scares and gore. Case in point, the scene in which Michael steals a car while a mother and daughter try to use a bathroom at a rest stop perfectly represents what made the original Halloween scary, and I am prepared to use a comparative analysis to make my point:
At the beginning of Halloween, a nurse is literally scared out of her car because Michael Myers is on the top of the vehicle trying his damnedest to get inside. He batters the roof and the windows, and finally—in a frightful mess—the nurse lunges from the car and Michael climbs through a broken window, peeling off into the night behind the wheel. He doesn’t follow her, he doesn’t stalk her for an hour through the woods until he kills her. In fact, you barely even see him and later in the movie, when his motivations become clear, you understand that he just wanted to get the hell out of there to go kill the rest of his family.
In a similar fashion, in Halloween H20, Michael waits at a rest stop until suitable victims arrive (in this case a mother and daughter), and, in a scene that is as about as tense as they get, Michael enters the bathroom and takes the mother’s keys from her purse while she is tearfully hiding behind a restroom stall door. He doesn’t kill her, nor does he kill the daughter. He just steals the keys and hits the road on his quest for revenge against Laurie Strode. It speaks volumes of his character, his motivations, and moves the plot along in a rational way while still employing tension and a very real and menacing threat.
In contrast, in the latest iteration of Halloween, Michael murders a pair of podcasting partners in a bathroom…because, according to the film, Michael is a single-minded murderer who has no ability to rationalize when and who he should be killing. Likewise, in Rob Zombie’s less-than-enthusiastic (or overzealous? I don’t know) remake, Michael kills a rather large truck driver because he needs his jumpsuit…because viewers want to see him back in his old duds? I’m actually not sure.
What I’m getting at is that there is an essential lack of subtlety in literally every iteration of Halloween outside of the original movie and Halloween H20. To further this point, in H20 we also get to see Laurie (played by Jamie Lee Curtis) dealing with PTSD from having her life completely unhinged by her psychotic brother (something I liked in the newest film); and, while it might seem like a bummer that LL Cool J is in Halloween H20, he at no point kicks Michael Myers in the chest and screams, “Trick or Treat, Motherfucker!” He’s just in the film playing a character; and, he actually does a pretty good job at it, because, you know what? Not only do I really love Halloween H20, but I’m also a believer in LL Cool J’s acting capabilities.
So take that, internet nerds!
Halloween H20 is also more than competently written. The writers do a fantastic job conveying Josh Hartnett’s rebelliousness and Laurie’s concern over the safety of her son, while also handling the delicacy of her character with tenderness and strength. She is a strong person, but anybody confronted with the deaths of their friends and family in such a gruesome way have to put up walls to get through the trauma. Nevertheless, she stands up to Michael and beats him down with a fire extinguisher (and eventually lops off his head, thus proving fratricide is sometimes okay).
I also really enjoy the visuals. The director Steve Miner and cinematographer Daryn Okada make use of the giant, empty Hillcrest Academy as a sort of killing ground for Michael. And, the lack of emphasis on gore makes the film more worthwhile because, like the original, you are not focused on explosions of violence to sustain a slowly-paced script. Instead, the atmosphere, storytelling, and character development help the viewer interpret the action and the dynamics of the film itself.
As far as what doesn’t work: the title Halloween H20: 20 Years Later is redundant.
Anyway, those are my thoughts on Halloween H20, but I am also curious about your own favorite underrated horror films. What are some of your favorites from the 90s? And, if you don’t think the 90s was a good time for horror, then tell me why!