The slasher sub-genre received one of its most influential films nearly thirty years ago. In 1960 Alfred Hitchcock arguably gave us the granddaddy of slasher cinema with the classic Psycho. It wasn't until fourteen years later when Bob Clark's Black Christmas and Tobe Hooper's Texas Chainsaw Massacre got the sub-genre kicked off in the right direction.
Then another four years later, John Carpenter, coming off the success of Assault on Precinct 13, turned his eye on bringing horror home. Halloween was a terrifying journey into fear as a masked menace invaded suburbia. It spawned seven sequels, each with varying degrees of success. It was only a matter of time before Hollywood turned their greedy eyes towards the past with intentions of "reinventing" a horror icon. How long will it be before Jason and Freddy get the same treatment?
The very idea of remaking a classic such as Halloween is going to be met with much opposition. The recreation of Texas Chainsaw Massacre a few years back was met with similar resistance. Everyone has films that they have made great connections with, and for genre film fans (primarily horror and science fiction) the attachment can be more pronounced.There are few other areas where fans are quite as outspoken for their beloved films. This is a great and beautiful thing. At the same time, I am open to the possibility that another filmmaker may have some ideas they would like to bring to the table. This makes the choice of the creative team to be of utmost importance, it is the choice between a quick buck and bringing another vision to the fore. Would you rather have something like the awful The Fog or Black Christmas remakes? Or perhaps something more along the lines of The Thing or Dawn of the Dead? In the former, it seemed that money rather than artistic merit were the goals, while the latter actually had directors with some vision, a creative spark that they wanted to bring to the table.
When Rob Zombie was announced as the writer/director I breathed a sigh of relief, while at the same time others were increasing the volume of their cries. Rob Zombie made his debut with the entertaining experiment House of 1000 Corpses followed by one of the single biggest leaps in skill with his sophomore feature, The Devil's Rejects. Here is a man who has a distinct love for horror cinema and a desire to make movies that he wants to see, not necessarily what everyone else wants, but he retains his integrity for better or worse.
Rob Zombie has delivered a film that the hardcore fans of Halloween will not like, the Zombie die-hards will really like, and then there are people in middle like me. I liked the movie, and I will not apologize for it. It is not Carpenter's Halloween, but it still has that feeling surrounding it. This is horror no longer in real world suburbia, but rather an alternate reality suburbia. It is a reality where the middle class rubs elbows with rednecks, and tormented youngsters can kill their oppressors in gruesome fashion and still retain a sensitive human core.Zombie's Halloween contains not a single note of subtlety. It is all about being in your face and over-the-top in its use of profanity, nudity, and blood. The traditional calling cards of what the genre would become through the 1980s. This film has a modern day sheen in its production value, but it has the feel of a throwback '80s-era slasher with '70s-era grindhouse sensibilities. The values are more on flash than substance, although there is some of that to be read between the lines.
Rather than portray Michael as a youngster that snaps for no particular reason, this take delves into Michael a little bit deeper. Most of you are most likely already familiar with what happens in the original film, Zombie is too, and is not looking to merely rehash what has happened. At least not at first.The first 40 minutes or so is spent with the younger Michael. The character is humanized a little, and we are given a new look at what gave rise to the murderous rampage. In a way, he is a little sympathetic this time out. Rather than a pure psychopath, he is shown to be a bit more of a product of his environment. This does not give him an excuse for his actions, just a different look. An abusive stepfather, an absentee mother, an uncaring sister, and a growing interest in the killing of small animals all builds to a breaking point. But that is not what makes this character interesting.
What I liked about this take on Myers is his obsession with masks and the hiding of his own face, and the unwavering care he shows early on for his baby sister. It is interesting in that they are two important aspects of this new-look killer. Whatever other motivations drive him need to be inferred, nothing is spelled out. His goal is clear, but the why is much murkier.
The second half picks up with the full grown Michael and his return to Haddonfield on Halloween night, the anniversary of his killing spree. The last 45 minutes or so follow Michael as he goes about dispatching all who get in his way as he searches for his long lost sister. Much of it mirrors the original film, including a number of the original lines.Halloween suffers from narrative issues, unexplained character placements, and motive problems, but in the end it doesn't matter (besides, I am sure a director's cut will be available when it hits DVD). What we got was a new look at young Michael, and a new more visceral look at Michael's rampage. This Zombie-fied Halloween is mean, vicious, and cruel to the extreme. It does not contain an ounce of the subtle building of dread of the atmospheric original, and that is a good thing. It has the distinct feeling of a Halloween film but it is not trying to be Carpenter's Halloween.
The performances range from very good to very poor, with plenty of middle ground to play with. Daeg Faerch does a fine job as young Michael. He has two modes, Michael with the creepy look and the dead eyes, and the sweet and inncoent "I love you, Mommy" Michael. Both are equally effective. His parents are played effectively by Sheri Moon Zombie, as his pretty-yet-weathered stripper mom, and William Forsythe, as his abusive and vulgar stepfather.Stepping into the sizable shoes of Donald Pleasence is Malcolm McDowell, playing Dr. Loomis to fine effect. He has a distinctive presence that works fine for the role. The performance problems step up when we move to the second half with the grown-up Michael. Tyler Mane does a fine job as the Shatner-mask-wearing Michael. He isn't the problem, in fact he strikes a very imposing presence as The Shape. Scout Taylor-Compton is decent as Laurie Strode as well. Her delivery is very much like Sheri Moon Zombie as a teen. It is pretty easy to buy her as Michael's sister. Then we get to the Laurie’s friends, Annie and Linda, played by Danielle Harris and Kristina Klebe. Neither one were all that convincing to me, perhaps it was the dialogue, but they just came across as terribly shallow.
Beyond all of the primaries, many bit parts were filled by Zombie regulars. I had fun picking them out as they came through. They added a nice flavor to the proceedings. In particular Ken Foree, Bill Moseley, and Danny Trejo gave memorable performances.
One element not to be forgotten is the music. John Carpenter's score for the original stands as one of the creepiest ever recorded. Eerie, simplistic, and terrifying even when not accompanied by the appearance of Michael. Tyler Bates (300) provided the new score, riding the line between respecting the original and offering up something original. It may not completely live up to Carpenter's minimalist masterpiece, but it does a pretty good job. That combines with Zombie's selection of tried-and-true rock anthems to round out the film in fine sonic fashion.In the end, we get a film that will undoubtedly be maligned by many. I am almost assured to be in the minority of those who enjoyed it, but so what? This is a project that was really a no-win situation. It was clearly made by someone who loves horror, and it has an energy that I find infectious, for better or worse. This is far from perfect and not up to the level set by The Devil's Rejects, but it is not the disaster that many will try to lead you to believe it is.
Bottom line. This is a decidedly mean-natured film, exposing Rob Zombie's penchant for profanity, splatter, and his wife's bare bum. It has the blood and cruelty we have come to expect from Zombie, as well as some roundabout substance for thought. I like this movie, and that is all that matters. Keep your mind open and you may like it, too.
