The Halloween Franchise | Page 48 | The Popjustice Forum

The Halloween Franchise

Discussion in 'TV + Film' started by silkandskin, Oct 18, 2018.

  1. SockMonkey

    SockMonkey Staff Member

    I just watched Kills and I’m pleased to see people not really defending it. It really wasn’t good. I mean, get a paycheck for not doing much Ms Curtis, I suppose.

    The whole mob chase thing in the hospital made no sense. The entire bloody town knows what Michael Myers looks like, why did they think a short fat man with no mask on was him? Why did they think he’d come into the hospital shouting “help me”?

    And by the end, “Evil dies tonight” but we’re just going to hit it with a stick one at a time and give it some nasty bruises. Whaddya mean hit him in the head? Jump up and down on his head all at once? Break its legs so it can’t get up? Wait, here’s someone with a knife! Oh, she didn’t go for the head either.

    I know he has to survive for another film, I know it’s just a slasher movie, but I hate it when they do some big angry mob who could have killed him 100 times over and they don’t manage it, it’s just stupid.

    Frustrating and major eyerolls throughout.
     
  2. The 'tonight evil dies' chant made me eye roll or cringe every few 100 times I heard it.
     
  3. I just learned that the drone lady is the cemetery keeper from 2018.
     
  4. So she was!

    A bit more reflection on the new one and I think it was in dire shortage of teens in peril. We only really had Allyson and Cameron.
     
    johnny_tsunami and ohaimanabu like this.
  5. "I wish they'd fix the power, at least we'd have some MTV as we wait for the cavalry..."
     
    Steve003, RidesOnTheBreeze and tylerc like this.
  6. I love that whole sequence. "Pretty boring out here", sis he is making sure a murderer doesn't get in and kill you!
     
    silkandskin, Andrew and ohaimanabu like this.
  7. “have some coffee…”
     
    silkandskin, Steve003, joeee and 3 others like this.
  8. Rachel screaming at Michael to leave them alone while they’re throwing stuff down the stairs always makes me laugh.
     
  9. "Come alive Rachel! Please come alive!"

    I love that Kills homaged 4 with terrible dialogue. It's impact!
     
  10. I always wince at this because she says it twice! It's such a strange choice.
     
  11. The whole film was a choice.

    Whilst there was always going to be a huge chance that Kills would suffer from middle film syndrome, at the end of the almost two hour runtime the needle did not move one bit.

    The flashbacks were well done for what they were, but ultimately when you only have one pervious night to go off, the lore they’re trying to achieve comes off as self important, and doesn’t have the weight they think it does.

    Why present Laurie in Halloween ‘18 as a woman trapped in trawma, undiagnosed in grief, and shunned by a town that did not understand her nor care to try, only to then turn around and go ‘here’s a group of other people (including Marion, who was never established as being from Haddonfield, so she either visits every year - sad or moved there after the murders in ‘78 - weird) who are also struggling with their trawma and who would literally lay down their lives for this woman!’

    Why go to great lengths to completely sever the tie between Laurie and Michael, giving her a much needed reprieve, only to then slam that back in by killing Karen and once again making it personal?

    Why give Lonnie an unnecessary encounter with Michael in an attempt to create an ‘emotional’ death that happens off screen?

    Why try and say something about how the world at large is quick to demonise mental health patients only to linger on the horrifically mangled body of someone that didn’t have to die?

    Why distance yourself from the other films in the franchise only to stuff Kills with fan service callbacks that make no sense and have no gravity within the timeline you’ve chosen? “This is for Doctor Loomis” who…sat and watched Michael in an asylum until he died?

    Why try as hard as you can to ground and ‘legitimise’ the current timeline only to make Michael arguably the most supernatural he’s ever been?

    Why make Michael crueller than he has ever been when the only other time he’s killed he’s more inquisitive about death than full of fury? You can’t say that someone is emotionless then say that he’s expressing his rage through violence.

    Why have literally every character make stupid fucking decisions even for a horror film, leading to both their, and others deaths?

    Why delete the original ending which would have been perfectly fine? A time jump does a disservice to everything that went before it.

    Why give Karen another well thought out ‘gotcha’ moment only to have her make the incredibly STUPID decision of standing in front of Judith’s window, when she was there when Hawkins said that that place is special to him? If there was even a tiny chance that Michael was alive you’d better believe that that was the last place I’d want to be.

    Why did that lady bring an iron?



    Despite all of that I really didn’t hate it. Fuck Tommy Doyle, Lindsey Wallace is skinny.
     
    Blue6010, xondus, ohaimanabu and 16 others like this.
  12. Halloween Kills should have been set during the events of '78, showing Michael that night, the battle to put him away, giving flash forwards to the current era. Halloween End could finish off 2018's plot lines without Evil Dies Tonight!
     
  13. I love this write up.
     
    xondus, ohaimanabu and silkandskin like this.
  14. Haha, thank you! The more I think about it the less any of it makes sense.

    Like the whole concept of “he stalks, he kills, he goes home.” Except…he doesn’t. When he kills Judith he leaves the house; before he attacks in ‘78 he’s in the house before he leaves and never comes back.

    Which is where the flashbacks come in.

    When you take it on a level like that, they’ve forced this narrative into the timeline because they’ve ultimately given themselves nowhere else to go, which feels really heavy handed.

    And then you have Laurie’s monologue to Hawkins where she goes on about how killing makes Michael transcend. How would she know that? Where does that logical leap come from? He’s killed on only two separate occasions, and this assumption only really works when you take the other films into account. She (and by extension the filmmakers) has placed this psychological determination onto him, and it gives an easy out to the amount of violence that is doled out onto Michael’s body throughout Kills, which a normal person could not come back from. And like I was discussing with @BTG, it robs Michael of any autonomy.

    It’s also really weird that they’ve pivoted from Haddonfield being a place that was happy to let Michael and that night fade away, to a place that is haunted by him and infected by fear. This was never really established in ‘18, so the move feels hollow.

    And if the town had been haunted by Michael, the news reporters would have been all over the fact that he was one of two inmates unaccounted for, which would both mean everyone would know what he looked like, and it would have spared the other inmate from dying altogether.

    And also this focus on Judith’s window. Where are they going with that? I can’t see the house not being demolished after that night in 2018, so it feels redundant to put so much emphasis on it.

    Despite my many misgivings about the film, it hasn’t left my head since I saw it on Halloween. Some of it is beautifully shot, some of the kills are really well staged, and I really loved the moment where
    Allyson stabbed the shit out of Michael’s stomach.

    I don’t know why I enjoyed it whilst rueing what could have been, but goddamn I wish it was better.
     
    GodsAndMonsters, aux, sesita and 5 others like this.
  15. I really hope she just cuts his head off .... again... like H20 ended. It seems to be the only way to end this killer because Kills sees him almost being supernatural with the amount of wounds he's taken on and is seemingly unaffected.
     
  16. This is the thing though, for as long as these films make money (and they’ll continue to do so) they’ll keep making them. So any potential cathartic moment we get will be undercut with the knowledge that Michael will always come back.

    I’ll never forget how amazing it felt watching Laurie finally triumph by lopping off Michael’s head when I first saw H20. It made sense, it was powerful, it was right. If they try that again it loses all power and will ultimately be insulting to both the character and the audience.
     
    GodsAndMonsters and BTG like this.
  17. I finally got to watch this, Little Strodes.

    And I have to agree with most of you guys - I enjoyed it, but it wasn't good.

    Miss Kyle Egan Richards practically stole the show, she really did a hell of a job and I was pleasantly surprised at how much stage presence she has. Lindsey was a great character and I'm really looking forward to her having more to do on Ends - she'll probably die, but I want a huge, Helen Shivers chase scene for her.

    The whole film ultimately felt... pointless. It's, as @silkandskin very smartly noted, middle-film syndrome. It just works as a bridge between an introduction and an ending. And while it has some interesting ideas to explore (I still find the whole town being done with being terrorized and taking matters into their own hands quite fascinating) I don't think they were resolved that well.

    The whole mob in the hospital section... what was that. It veered into Grey's Anatomy territory for a moment, added absolutely nothing, the social commentary felt clunky and it was just... trite.

    Jamie Lee did what she could do with a really, really awful dialogue - but both her (the syringe scene...have an Activia and maybe calm down, woman) and especially Tommy Doyle come off as extremely overacted. I had a problem with Andi Matichak's acting too - don't get me wrong, it's an horror film I'm not expecting groundbreaking material, but when Michael McDonald and Kyle Richards of all people know what they're doing and give their characters a sense of humanity and reality, something's off.

    I expected far more from Marcus and Vanessa - for a bit it felt like we were heading into Planet Terror and they were going to get things done, yet their deaths feel so anti-climactic.

    Even though it has a lot of issues, I did end up enjoying most of it though, I really had a blast watching it. But I hope all of these sins are forgiven in Ends.

    Also, NO MORE EVIL DIES TONIGHT, if I hear that sentence one more time...
     
    Last edited: Nov 6, 2021
  18. I want Lindsey to go at Michael with a clawhammer in the next one yelling “this is for Lester!!”
     
    ohaimanabu, tylerc, sesita and 5 others like this.
  19. Finally went to the theater to see this tonight, and I was the only person in attendance, which added a nice creepy atmosphere, but boy, this is quite the disaster, isn’t it?

    I’ll admit I enjoyed the first… third of it, but it really tumbles after Kyle’s chase scene (the one true highlight), and just digs its grave deeper and deeper with every scene.

    Also, can someone explain the not Michael Myers institution escapee (if there is anything to explain…) i.e. Who? Huh? and Why?
     
  20. He was in the 2018 one too (I think with the parasol?) and I guess it was another way to tie the films together.

    But it was also dumb because to know the two of the were unaccounted for would also mean they knew who they both were, and the media would have been all over the fact that Michael had escaped. Of course, that doesn’t line up with the soft focus on Michael’s face on the news report that they ultimately went for.
     
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