HALLOWEEN - COMPLETE COLLECTION: 15 Blu-rays (Compass International/Moustapha Akkad, Dimension, 1978-2009) Anchor Bay/Starz!/Shout Home Video
Gotta hand it to John Carpenter and Debra Hill: they took a seemingly
innocuous pagan festival, diluted over the centuries into a silly excuse for
masquerades and kids ODing on candy, and transformed it into, quite possibly,
the most terrifying night of the year. There’s no getting around it: John
Carpenter’s Halloween (1978) remains
a cut above the rest – not only when compared to its mostly inconsequential
sequels, but also any other horror film franchise yet attempted in Hollywood.
The difference is obvious to anyone who has seen more than one or two ‘slasher’
movies in their lifetime. Carpenter’s meticulous plying of suspense and chills
is done mostly through Dean Cundy’s brilliant manipulation of light and
shadows, predicated on the fact Carpenter had little money to make a flashier
film. As they say, necessity proved the mother of invention, resulting in a
scare-fest unlike any other before or since; Halloween’s blinkered serial killer, Michael Meyers dogmatically
slicing his way through some prime teenage flesh for no apparent reason other
than his demonic obsession with Laurie Strode; alas – the one lass his Ginsu never could touch. I’m
sure Freud could make much of Michael’s sexual frustrations, though none of the
films ever debates this point.
The original Halloween isn’t
a slasher movie per say; not really – the murderous motivation of its
antagonist, obscuring the fact Carpenter has carefully concocted a superior
thriller that serves up all the fixin’s of a traditional horror flick. But what
Carpenter and his producer, the late Debra Hill, implicitly understood was the
power in not showing the audience everything. Alas, after Michael Meyers was
blown to bits by Dr. Sam Loomis inside Haddonfield’s Memorial Hospital in part
II, subsequent Halloween sequels
(with the exception of part III) played to an unlikely ‘supernatural’ quality
not in keeping with Carpenter’s original intent; Michael’s merely obsessive
impulses reincarnated as something far more sinister from a seemingly darker
than anticipated netherworld.
It’s become something of a joke, actually. Rob Zombie’s reboot of the
franchise in 2007 seemed so promising at first; starting over from ground zero,
as it were, so we could finally expunge the pall of Halloween III: Season of the Witch from our collective memories,
along with the incongruous narrative misfires perpetually plaguing the series
thereafter (as in…Michael’s dead. No! He’s alive! No, he’s dead. We cut off his
head! You get the picture). Except that Zombie’s penchant for ghastly carnage
effectively deprives us of the last vestiges of spookiness the original movie
and Rick Rosenthal’s brilliantly conceived first sequel had in spades. Trading
nail-biting anxiety for the more obscene SFX laden chop-shop menagerie of
brutal dismemberments has not only devalued the franchise, but in hindsight, it
has severed all ties with the original concept, making Halloween just another run-of-the-mill gore-fest; something
Carpenter never intended it to be.
I have to be honest; it’s only the first two movies that continue to
hold my interest with the deepest admiration for Carpenter, Hill and Rosenthal.
Even with the obvious passage of time and changing audience tastes, their work
really does hold up under the closest of scrutiny; Carpenter eschewing even the
notion of doing any sequels, and, handing off Halloween II to Rick Rosenthal; who miraculously achieved a
momentous coup in the horror genre by recapturing the essential flavor of the
original, while cleverly anteing up the body count in inventive new ways. There’s an integrity to these frights being
exorcised in both Halloween and Halloween II (1981). The movies are meant
to titillate and scare. They serve both purposes masterfully. However, neither
talks down to the audience and, in hindsight, Halloween – Carpenter’s original – remains the Citizen Kane of all contemporary horror pictures.
Even the name Michael Myers has since entered the popular lexicon as a
horror icon. But it’s important to recall the character never began this way.
Carpenter’s movie was just a B-budgeted programmer, meant to get his own name
out there in the Hollywood community. Indeed: it did just that. Halloween is a visceral experience –
like a bad dream we can’t quite collectively wake up from even after the
houselights have come up. Unlike so many horror/slasher flicks that followed
it, Halloween does not coarsen the
audience’s sensibility with buckets of blood. It preys upon a more insidious trepidation.
Carpenter was, of course, blessed by
kismet in his aspirations to make a good movie; the casting of the legendary
Donald Pleasance as Dr. Sam Loomis (who never quite understood what he was
doing in the movie, but nevertheless gave it his all, and, to bone-chilling
effect); Jamie Lee Curtis, fresh from film school as Laurie Strode (daughter of
Hollywood royalty and only just begun her own acting career); Nick Castle as Michael
‘the shape’ Myers (who remains the curiously ‘eloquent’ menace like no other
horror icon before or since) and finally, master cameraman, Dean Cundey
(establishing the template for all the imitators to follow and badly mangle in
the interim).
Halloween is an
ironically ‘blessed’ project on a very cursed subject; the Carpenter/Hill
screenplay capped off by Carpenter’s own skin-crawling score; elemental in its
three bar structure, but utterly effective and immediately recognizable. In
retrospect, Halloween was a happy
accident for all concerned; the shoot in California establishing a familial and
ever-lasting camaraderie among cast and crew. Even Donald Pleasance enjoyed
himself, his scenes shot together to keep production costs down. In many ways, Halloween is the ultimate exemplar of the
‘grassroots’ popcorn movie from the 1970's, a decade overshadowed by the steep,
steady decline of the film industry and the rise of independent film makers
stirred by their own passions to make movie art on a shoestring.
At the time, Carpenter never had any notion what he had created was a
pop cultural blueprint for a decade-long obsession with stalker movies. No -
then he was merely interested in creative control - a request willingly granted
him by producer, Irwin Yablans who convinced producer Moustapha Akkad to put up
$300,000 to make the original Halloween.
Today, a thirty second TV commercial can’t be done for this money. But even in
1978, Carpenter was working under very stringent budgetary constraints. From
the outset, he assumed a daunting task - to shoot, edit and score a film in
under four months, working primarily with a cast and crew who had never made a
movie before. Try doing that today –
much less, do it as well as Carpenter
did!
The screenplay by Carpenter and collaborator, Debra Hill opens in the
small hamlet of Haddonfield, Illinois (homage to Hill's upbringing, although
actually shot in and around Hollywood). On Halloween night, Michael Myers (Will
Sandin), a child with an unhealthy Freudian sexual appetite, murders his
half-naked babysitter in her upstairs bedroom. Discovered by his parents on the
front lawn with the infamous bloody knife still clutched in his hand, Michael
is locked away in a minimum security sanitarium where psychiatrist, Sam Loomis
(Donald Pleasance) struggles for a decade to reach him. Realizing Michael is
evil incarnate, Loomis secures the state’s complicity to move him to a maximum
security institution for the criminally insane.
Unfortunately, on this rainy eve of transfer, Michael (now played by
Nick Castle in a modified Capt. Kirk mask and briefly glimpsed as Tony Moran
without it in the film’s final moments) escapes the hospital by attacking a
nurse, then using Loomis' car for his getaway. Arriving in Haddonfield, Loomis
attempts to warn Sheriff Leigh Brackett (Charles Cyphers) of the impending
slaughter. “Death has come to your town,
sheriff.” No one takes Loomis seriously. Meanwhile, Michael becomes fixated
on shy introvert, Laurie Strode (Curtis) and her oversexed friends; Annie
Bracket (Nancy Kyes) and Lynda Van der Klok (P.J Soles).
Laurie is the first to see Michael eerily lurking behind bushes and
looming in between backyard clothes lines and fences. Yet, she still manages to
start for the Doyle's house. After all, there is safety in numbers. Annie and
Laurie will be babysitting across the street from one another. Meanwhile, Lynda
and her boyfriend, Bob Simms (John Michael Graham) just want to have some fun
and are hoping Annie will let them use the upstairs for…well. After Annie
convinces Laurie to watch her young charge, Lindsey Wallace (Kyle Richards),
she inadvertently becomes the first victim. The fates of Lynda and Bob are
quickly dispatched by Michael, whom Laurie’s charge, Tommy Doyle (Brian
Andrews) first witnesses carrying Annie’s lifeless corpse back into the house
from the garage. No one, least of all Laurie, believes him. However, Laurie
becomes disturbed when a call from Lynda is interrupted; Laurie listening on
the line while she is being strangled by Michael with the telephone cord.
Assuming this to be a prank, Laurie decides to walk across the street and
confront her pranksters. Discovering the bodies in an upstairs bedroom, Laurie
is brutally attacked by Michael, but manages her escape; sending Lindsay and Tommy
down the street for help. Michael is thwarted in his slaughter of Laurie by Dr.
Loomis who, having heard Tommy and Lindsay’s screams, has rightfully assumed
the evil is near. However, pumping six bullets into Michael’s chest is hardly
enough to end the nightmare; Halloween
concluding on an ambiguous note of death; ever-present and continuing to hunt
for human prey Рbut particularly, our terrorized ing̩nue.
Wisely recognizing that what can only be seen in half shadow is infinitely
more terrifying, Dean Cundey’s cinematography comes across today as more slick
and stylish than it actually is. Although only the latter third of the movie
really concentrates on Michael's methodical stalking of his victims his presence
is everywhere from the onset of the film. Owing to the immediate, overwhelming,
and frankly unexpected success of Halloween,
producer Mustapha Akkad had to have a sequel. Alas, John Carpenter wanted no
part of it. He also harbored a minor grudge over royalties never paid out to
him. So, Akkad went ahead with his plans to continue the story, hiring Rick Rosenthal
to helm the sequel.
Halloween II (1981) ought
to be ‘required viewing’ for any director attempting a horror sequel; Rosenthal
pulling off the near impossible task of seamlessly matching Carpenter chill for
chill. The movie is reverent to the mood, style and pacing of the original.
Hence, continuity is upheld. The result:
watching both movies back to back feels like an investment in one horror epic.
Dick Warlock takes over from Nick Castle as Michael. Carpenter was persuaded,
along with Debra Hill, to write the screenplay, picking up exactly where the
original movie left off. Regrettably, Michael is immune to Loomis’ gunfire. He
gets up and continues his bloodthirsty pursuit of Laurie Strode, the sole
survivor from the first movie. However, after witnessing the slaughter of
virtually all her high school friends, Laurie is in a state of catatonia. She
is rushed to Haddonfield Memorial Hospital by attending EMS workers Budd (Leo
Rossi) and Jimmy (Lance Guest). Dr. Mixter (Ford Rainey) administers a powerful
sedative that leaves Laurie incoherent and barely conscious. Meanwhile, Michael
has arrived at the hospital. Systematically he picks off the unsuspecting employees
in fiendishly clever ways.
As example: he drains the blood from head nurse Mrs. Alves (Gloria
Gifford) in an operating room, strangles Budd, drowns Budd's girlfriend, Nurse
Karen (Pamela Sue Shoop) in a scorching recuperative bath that peels away her
skin, sticks a hypodermic needle through Nurse Janet's (Ana Alicia) eye, whacks
a hammer into security guard Mr. Garrett's (Cliff Emmich) head and sticks a
knife into Nurse Jill's (Tawny Moyer) back, twisting its handle to raise her to
the ceiling until her shoes fall off. If nothing else we have to give Carpenter
and Hill top marks for keeping such grotesqueness ghoulishly amusing and extremely
varied. But we should also tip our hats to Carpenter’s creative genius to
finish the job begun in his original movie; namely, putting a definite period
to Michael Myers by blowing him up.
Halloween II is a very
creepy film. In keeping with Carpenter’s original intent, the murders are
‘tastefully’ photographed in half-shadow with quick edits. We get just enough
to shock us out of our seats without turning our stomachs. Rosenthal is clever
in a way incoming Halloween alumni,
Tommy Lee Wallace can only guess at with Halloween
III: Season of the Witch (1982). To be fair to Wallace; he had nowhere to
go but down. Deprived of the first two movie’s arch nemesis, and, as yet
unaccustomed to the incongruity of churning out movie sequels that make
absolutely no sense at all, Wallace was forced to embrace an entirely different
story for this third installment to the franchise. The enduring problem with Halloween III is that it has absolutely
nothing to do with the first two movies. Tricking an audience with the pretext
they are about to see a continuing, and much anticipated horror saga, but then
completely depriving them of this experience, remains fairly underhanded to downright
dirty marketing.
If only for an ounce of continuity or perhaps a change of title, or even
returning Donald Pleasance and Jamie Lee Curtis to the franchise, Halloween III might have given the
audience some hope for a perilous ‘good time’. Alas, no: instead we get elderly
shopkeeper, Harry Grimbridge (Al Berry) running for his life down an isolated
road at night; trailed by a carload of monolithic businessmen toting concealed
weapons. Clutching a jack-o-lantern mask from the Silver Shamrock novelty factory,
Grimbridge eludes his assailants only to be murdered in his hospital bed a
short while later by another ‘businessman’ (Dick Warlock); followed into the
hospital parking lot by Dr. Daniel Challis (Tom Akins), who witness the
unidentified stranger set himself on fire.
I have to admit the first fifteen minutes of Halloween III are exceptionally solidly scripted and deftly handled
for maximum ominous skin-crawling delight. Regrettably, from this rather
haunting opener the chills generally evaporate; the plot degenerating into a
turgid who-done-it with Challis walking away from his medical profession to
play an ineffectual Poirot with Grimsbridge’s sultry daughter, Ellie (Stacey
Elkin) as his doe-eyed Miss Marple. The two have a fling while following a new
lead in Santa Mira. They meet Buddy Kupfer (Ralph Strait), his wife, Betty
(Jadeen Barbor) and their young son, Buddy Jr. (Bradley Schacter) who have been
invited by Conal Cochran (Dan O’Herlihy), the good-natured CEO of Silver
Shamrock Enterprises, to partake in an advanced preview of a ‘very special’ Halloween mask promotion.
Cochran is an unsettling presence; a charmer on the surface whose courtly
polish hide a more sinister ambition.
While touring Silver Shamrock’s production facility, Ellie and Challis
are alarmed to see Grimbridge’s car in the parking lot, guarded by more
monolithic men in business suits. Returning to their hotel, Challis discovers he
is unable to call out. Ellie is kidnapped and taken to the plant with Challis
breaking in after hours in the hopes of a gallant rescue Instead, he is
discovered by Cochran; the businessmen revealed to him as androids created by
Cochran to do his bidding. Cochran has Challis view a video monitor of the
Kupfer’s in their motel room. The TV plays the Silver Shamrock commercial and
Buddy Jr. is instructed to put on his jack-o-lantern mask. Implanted with a
chip that channels the witchcraft powers of Stonehenge, the mask devours
Buddy’s head, unleashing a vast assortment of bugs and snakes that kill the
Kupfers as they helplessly look on.
Cochran informs Challis that on Halloween every child in America will be
wearing one of his masks and thus, suffer the same fate. Breaking free, Challis destroys the factory
and its androids. The powers of Stonehenge consume Cochran while Challis and
Ellie steal away into the night. But only a few miles from the factory Cochran
is attacked by Ellie who is actually an android copy. Presumably the real Ellie
has died in the factory. After a brief struggle, Cochran destroys android
Ellie, then, with frantic pleas, attempts to convince the TV stations not to
broadcast the dreaded Silver Shamrock commercial set to trigger the next
apocalypse.
Halloween III – once thought
of as the redheaded stepchild of the franchise - has since acquired something
of a reputation as a cult classic among horror aficionados. Yet, whether one
chooses to regard it as a legitimate installment to the franchise or an
ambitious and complete departure, the results – at least for me - are the same:
awful. Wallace begins his sojourn with a very strong, exceptionally moody set
piece, but then completely deflates the suspense with a middle act that plays
more like a maimed TV mystery movie of the week. The last act is as badly
mangled: so thoroughly convoluted and incoherent it neither explains away the
purpose of the first two thirds nor brings any closure to the story – such as
it is.
Is Cochran just a perversely demented old man with the same tired dreams
of world domination run amuck? Or is he truly the resurrection of a modern day
warlock who believes his money can help him channel the unwieldy Gaelic spirits
of Samhain? Was Ellie always an android,
hoping to lure Challis to his death and if so, to what purpose? Or was she
really kidnapped by Cochran, murdered and then replaced with a likeness: again,
to what purpose? After all, Cochran’s assumption was, having captured Challis,
he would die at the Silver Shamrock factory. So why create an Ellie double to
pretend to be Ellie until she can kill Challis?
Owing to the brutally negative reception of Halloween III, it took producer Mustapha Akkad nearly six years to
deliver another sequel. Dwight H. Little’s Halloween
4: The Return of Michael Myers (1988) would challenge the finale of Halloween II. Alas, in Halloween II the original Michael Myers
mask (actually a modified Captain Kirk children’s mask spray-painted porcelain
white) had been destroyed by Rosenthal for the movie’s fiery and penultimate
showdown with Dr. Loomis, leaving producers to seek out another similarly
occupied plastic visage for the shape. A
pity the one chosen in no way replicated the ominous allure of the original and
did not photograph as well to mirror the startling close-up of Michael’s deep
eye-socketed visage featured on the movie’s poster. This time, the
screenwriting duties were given to Alan B. McElroy, who came up with the not
terribly original notion Michael should stalk his niece, Jamie Lloyd (Danielle
Harris), Laurie Strode’s daughter. The plot also resurrected Dr. Loomis from
the flames; Donald Pleasance given over to a hideous makeup application to
reflect the charred flesh, arguably, even more frightening than Michael’s mask.
Initially, Carpenter and Debra Hill had intended to use the Halloween franchise to introduce a
series of unrelated horror stories; Halloween
III being the first. After Halloween
III’s implosion at the box office this idea was vetoed, leading to the
resurrection of Michael and Dr. Loomis; a narrative wrinkle Carpenter has
always maintained as ‘very silly’. Halloween
4 begins ten years after Part II,
Michael in a coma ever since the explosion at Haddonfield Memorial. However,
like the vial Vesuvius he is, lain dormant though hardly inactive, upon
overhearing he has a niece, Michael is stirred to awaken from his coma and
continue his carnage; killing the paramedics responsible for transporting him
from back to Smith’s Grove Sanitarium.
Learning of Michael's escape, Dr. Loomis resumes his pursuit to prevent
the inevitable. In Haddonfield, a sad-eyed Jamie Lloyd (Danielle Harris) is
living with her foster family; Richard (Jeff OIson) and Darlene Carruthers
(Karen Alston), who think nothing of leaving her in the care of their teenage
daughter, Rachel (Ellie Cornell), who would rather be off sweating up the
backseat of her boyfriend, Brady’s (Sasha Jenson) car. The narrative
machinations to fulfill the same purpose – the slaughter of a relative – are
more unnecessarily elaborate in Halloween
4; Michael unable to murder Jamie in broad daylight inside a local
drugstore, but instead waiting until dark, then skulking off to a power station
to electrocute two engineers, thus plunging the town of Haddonfield into
complete darkness. It’s pointless,
actually, and distracting from Carpenter’s original claustrophobic vision for
the story. In hindsight, Halloween 4
is the beginning of Michael’s transformation, from merely disturbed mortal,
into demonic deity; one who cannot be destroyed.
While Dr. Loomis appeals to Haddonfield’s new sheriff, Ben Meeker (Beau
Starr), Michael single-handedly murders the entire force. In the meantime,
Rachel discovers Brady with the Sheriff's daughter, Kelly (Kathleen Kinmont).
In her wounded confrontation, she loses Jamie. Michael, of course, seizes upon
this opportunity to make several awkward attempts on Jamie’s life. Instead, she
is repeatedly rescued by Rachel who is introduced to the Sheriff and Dr. Loomis
in short order. The last act of Halloween
4 is so predictable it cries out for even a spark of originality, woefully
denied. The girls are taken to Beeker’s home for safe keeping. Put in a room
with Kelly and Brady, old wounds reopen and Michael begins his assault.
Interestingly, while he was fairly slick in his annihilation of an entire
police force, Michael is quite unable to kill a handful of gawky teens without
considerable stealth.
Halloween 4’s back story
is more fascinating than its premise; an exemplar of the old adage about too many cooks spoiling the broth. After
Halloween III, producer Moustapha
Akkad wanted Michael Myers back in the flesh. In the meantime, John Carpenter
was approached by Cannon Films to direct Halloween
4. But this plan to reunite old friends proved more complicated; Debra Hill
unable to iron out the narrative wrinkles with the film’s first screenwriter, Dennis
Etchison, who came to the project already having adapted the second and third
movies into successful pulp paperback editions. Etchison’s high concept for Part 4, whereupon a group of local
teens mentally will the memory of Michael Myers back into existence in defiance
of the city’s ordinance to ban Halloween, was considered too highbrow.
Moreover, Carpenter and Hill decided to divest themselves of their shares in
the franchise; selling the title and characters outright to Akkad for a song.
McElroy’s synopsis, written in record time during a writer’s strike, was
adhered to without fail; Akkad demanding the series returned to its roots. For
budgetary reasons, the original ending to Halloween
4 - the Meeker’s abode engulfed in flames - was scrapped; a boring ‘soap
opera’ about broken hearts and wounded feelings between Rachel, Brady and Kelly
emphasized, and the subplot, involving Jamie’s conversion to the dark side, by
murdering her foster mother while drawing her bath, scrapped.
The biggest complaint I have with the franchise from Halloween 4 on is that none of its
subsequent directors truly understood the subtlety of Carpenter’s 1978
masterpiece; certain not Dominique Othenin-Girard, the instigator behind the
camera of Halloween 5: The Revenge of
Michael Myers. Nevertheless, Othenin-Girard did take his cue from the
causal link between Carpenter’s original and Rick Rosenthal’s first sequel;
beginning Halloween 5 at precisely
the point its predecessor left off; with Michael tumbling down a mining shaft.
State troopers gather to toss a stick of dynamite after Michael; the explosion
presumably meant to entomb the serial killer for good. Predictably, Michael
escapes moments before the blast. Herein, we get shades of James Whale’s The Bride of Frankentstein (1933) in
the screenplay coauthored by Othenin-Gerard, Michael Jacobs and Shem Bitterman;
Michael, like the Frankenstein monster, stumbles to a hermit’s cottage where he
is cared for. Unlike the monster, Michael’s philanthropy is predictably wicked.
He kills the hermit, and returns to Haddonfield.
Jamie, now committed to a children's psychiatric ward, is mute but
exhibits signs of a queer telepathy with her demonic uncle. Dr. Loomis
intuitively realizes this link and attempts – again, to no avail – to convince
Sheriff Meeker their ordeal is not yet over. Meanwhile, Michael easily kills
Rachel and begins to stalk her best friend, Tina (Wendy Kaplan); first,
murdering her boyfriend, Mikey (Jonathan Chaplin). To fatten this ever-thinning
herd of victims, we’re introduced to Tina’s good friends, Billy Hill (Jeffrey
Landman), Samantha Thomas (Tamara Glynn) and Spitz (Matthew Walker); token
lambs fit only for the slaughter and who, of course, are destined to meet with
their own untimely ends. Jamie is stirred by visions of their imminent peril.
Too late for Sam and Spitz, the latter impaled on a pitchfork, the former cut
in half with a garden scythe. Tina discovers these corpses and Michael chases
her down in Billy’s car; fakes his own death by wrapping the car around a
nearby tree, only meant to lure these ridiculously stupid teens to investigate.
They do and Michael kills Tina. At Loomis’ request, Jamie agrees to act as a
plant to flush Michael out of hiding.
The last act of Halloween 5
is seriously flawed and a mostly frenetic affair; Jamie repeatedly – if
narrowly escaping her uncle’s many failed attempts to destroy her. While Jamie
appeals to Michael’s humanity, Loomis uses a tranquilizer dart to subdue the
threat, taking out his frustrations by beating Michael unconscious with a
wooden plank. In an even more incongruously rendered moment of revelation,
Michael is freed from a maximum security prison by a mysterious stranger
cloaked in black; Jamie discovering the cell that once contained him empty. The
initial plan had been to have Jamie be transformed by her ordeal; either, into
Michael’s accomplice or the next link in this disturbed family lineage. Neither
happened in the final cut; the movie shot without the benefit of a finished –
or even, competently evolved – script; the scenarios changing daily. In the
editing process, director Dominique Othenin-Girard’s more gory vision was toned
down by Mustapha Akkad; presumably to keep the censors at bay from branding the
movie with the dreaded ‘X’ rating.
By now it had become rather glaringly obvious, even to devotees, the Halloween movies had settled into a
predictable rut; the tired old chase scenario infused with no new lifelines in
director Joe Chappelle’s Halloween 6:
The Curse of Michael Myers (1996). In
an attempt to explain away Michael’s immortality, the dangerously flawed
screenplay by Daniel Farrands introduced some fantastical elements of ancient
mysticism to the backstory. Michael Myers is now a man who seemingly cannot die
because he has been inflicted with the ‘curse of the thorn’. Begun with an
ambitious cultist slant, the aforementioned mysterious figure in black
belonging to a Druid-esque cult, has abducted Jamie Lloyd (now fifteen and
played by J.C. Brandy). She is impregnated and gives birth in captivity, but is
rescued by Nurse Mary (Susan Swift), only to be brutally murdered by Michael (again
played by George P. Wibur). Halloween 6
was a troubled shoot almost from its inception; the producers warring with
Farrand who had, in fact, begun his association with them six years earlier;
originally hired to write Halloween 5.
Unfortunately, what sounded fine and fairly original on paper eventually
became the crux of a controversy that delayed Farrand’s involvement. Halloween 6 would be plagued by endless
rewrites and re-shoots; its final edit veering far off the mark from the
original work print assembled, reaching theaters with nearly 43 minutes excised.
Over the years, the so-called ‘producer’s
cut’ of Halloween 6 would
develop a very strong following; circulating in poorly mastered bootleg copies.
Too bad it’s the truncated version most people saw in theaters, earning Halloween 6 the dubious distinction of
being the worst film in the series.
Indeed, Farrand’s ambitions to bridge the chasm between the first two
movies and the latter installments, that he believed had grossly mismanaged the
Halloween legacy, were deemed too
avant garde. Even the film’s original title: Halloween 666 was dropped; the screenplay mutating through eleven
drafts until it barely resembled Farrand’s original hope for the project.
Halloween 6 begins in
earnest, appropriately, six years after Halloween
5. After Jamie and her baby escape the cult, she is taken to Smith’s Grove
Sanitarium, her pleas for help overheard by none other than Dr. Loomis (Donald
Pleasance in his last appearance in the franchise), though virtually ignored by
pompous radio D.J. Barry Simms (Leo Geter) who is doing a broadcast on the
Haddonfield murders. Escaping in a stolen truck, Jamie is run off the road by
Michael. She flees to a nearby barn, but is almost immediately impaled by
Michael on a corn thresher. It seems Michael is after her child. Mercifully, the
baby is not in the truck. Meanwhile, back in Haddonfield, Tommy Doyle (all
grown up as Paul Rudd), has become obsessed to uncover the truth about Michael
Myers. To this end, he’s moved into a boarding house directly across the street
from the old Myers house, presently occupied by relatives of the Strode family;
parents Debra (Kim Darby) and John (Bradford English); their daughter, Kara (Marianne
Hagan), her eight-year-old son, Danny (Devin Gardner) and her teenage brother,
Tim (Keith Bogart). Aside: are they serious?!?
It’s old home week as Tommy inadvertently bumps into Dr. Loomis,
informing him of the family’s residency in the town’s most notorious haunted
house. Loomis pays a call and forewarns Debra of the cursed history. Taking
Loomis’ advice to heart, Debra telephones John at work, insisting they move
immediately. Alas, that’s not quick enough; Michael killing Debra shortly
thereafter. Kara discovers Danny and
Tommy in a tete a tete over the Druid cult; Tommy believing Michael is infected
by the Curse of the Thorn; an ancient symbol capable of spreading
pestilence. In ancient times, to prevent this, one child
was chosen from each Druid tribe to bear the curse, offering a blood sacrifice
to appease the evil on the night of Samhain (a.k.a. Halloween). This explains
why Michael is consumed with killing his entire family. It also accounts for
his inability to be killed. Like Halloween’s
4 and 5, Halloween 6 begins with a clever set up, only to botch the concept
with a return to the rather formulaic slasher flick.
Halloween 6 predictably
ratchets up the body count, Michael hacking into the likes of Barry Simms (not
a part of his family) then, Tim Strode and his girlfriend, Beth (Mariah
O'Brien). Too late, Dr. Loomis learns Smith’s Grove’s Dr. Wynn is the leader of
the ‘cult of the thorn’; Wynn kidnapping Kara, Danny, Steven, and Michael and
taking everyone, including Tommy, back to the sanitarium. Wynn explains how Jamie's baby represents the
dawn of a new age for the cult. Alas, Loomis’ intervention in a rescue is
thwarted by another cult member; Tommy freeing Kara. Predictably, they run into
Michael, witnessing him slaughter Wynn and members of a surgical team about to
exploit another human test subject for their cultist purposes. Tommy manages to
inject Michael with tranquilizers, before beating him unconscious with a lead
pipe. As Loomis, Tommy, Kara, Danny, and Steven are about to escape, Loomis
instructs them to go on ahead. He returns to the lab, discovering Michael’s
mask lying on the floor; his defeated screams echoing throughout the halls of
the sanitarium.
Halloween 6’s ending is a
misfire, cobbled together after producer, Paul Freeman and the movie’s director,
Joe Chappelle, could not see eye to eye on practically any aspect of the
production. With deadlines looming and actor, Donald Pleasance passing away
before the film’s completion, certain concessions were made. These did not
benefit the story; the theatrical cut becoming a mishmash of ideas stripped of
their continuity and horrendously reassembled into something vaguely resembling
a plot. Lost in the shuffle were several key points. Also, Chapelle elected to
ditch the cultist slant in the movie’s final act, leaving everyone wondering
why its’ first third so heavily relied on the premise.
In hindsight, there is little to doubt the influence of Kevin
Williamson’s Scream (1996) on the
decision to mildly re-brand the Halloween
franchise with an all-star cast, headlined by Jamie Lee Curtis. Steve Miner’s Halloween: H20 (1998) ought to have
been a reunion picture for Curtis and John Carpenter. In Halloween 4, we had been told of Laurie Strode’s demise in an
automobile accident. This, alas, proves not to be true: Strode faking her own
death to remain under Michael’s radar. Developed by Robert Zappia, who also co-wrote
the screenplay with Matt Greenberg, H20 was
a direct sequel to the first two movies; choosing to completely ignore the
history established in parts 4, 5,
and, 6. The plot, appropriately advanced 20 years from
the events taken place in the original first two movies, now focused on Laurie
Strode’s (Jamie Lee Curtis) post-traumatic disorder; still living in constant
fear of her murderous brother. Inevitably, Michael resurfaces, forcing Laurie
to confront evil for what will, presumably, be the last time.
As had become something of a habit for the franchise, H20 reintroduces the audience to a
memorable character from the not so distant past: in H20’s case, Marion Chambers-Wittington (Nancy Stephens) who had
been Dr. Sam Loomis’ former colleague and the nurse Michael attacked to steal
his getaway car from Smith’s Grove in the first movie. Upon returning home in H20, Chambers discovers her house has
been burglarized. The neighbor’s teenage son, Jimmy Howell (Joseph
Gordon-Levitt) investigates with his trusty hockey stick, but finds no evidence
the perpetrator is still lurking inside. He also doesn’t take Chambers very
seriously. Alas, Chambers quickly realizes she is not alone. The files on
Laurie Strode that were in her home office cabinet have gone missing. Chambers
now rushes next door to have Jimmy call the police, only to discover both he
and his best friend have been brutally murdered. Michael Myers (now played by
Chris Durand) slits Chamber’s throat, the police – as is usual in any horror
movie – arriving too late to be of any use. Michael departs unseen with Laurie
Strode’s file in hand.
Flash forward to Laurie’s pseudo-idyllic life: as girlfriend to Will
(Adam Arkin), raising her teenage son, John (Josh Hartnett) and managing a
career as headmistress at the Hillcrest Academy – a private school. For the
long weekend, John and his friends elect to throw a Halloween bash in the
school’s basement; Michael reappearing from the shadows and murdering John’s
classmate, Charlie (Adam Hann-Byrd) after they become momentarily separated.
Charlie’s body is discovered by another reveler, Sarah (Jodi Lyn O'Keefe) who
makes a valiant attempt to get away from Michael by crawling inside a
dumbwaiter. Bad timing, and even worse luck, and Sarah, of course, dies heinously
by his hand.
In the meantime, John and his girlfriend Molly (Michelle Williams) have
decided to go in search of the missing pair. They discover what’s left of Sarah
dangling in the pantry; Michael reemerging from the shadows to pursue John and
Molly across the school grounds. Saved by Laurie and Will at the last possible
moment, this foursome now take up refuge as Laurie prepares to face the demon
that, for so long, has controlled every aspect of her private life. Will
accidentally shoots the school’s security guard, Ronny (LL Cool J) five times
in the chest, and is then killed by Michael. But Laurie, John and Molly escape
his wrath; Laurie taking out her twenty years of pent up aggression on Michael;
repeatedly stabbing him in the chest. Ronny, who has inexplicably survived his
ordeal, restrains Laurie from finishing the job. Sometime later, the police zip
up Michael’s bloody remains in a body bag. Laurie, however, does not believe
Michael is dead. She is, of course, quite right. In the penultimate
confrontation between these two old enemies, Laurie manages to pin Michael
against a tree and decapitate him.
Halloween H20 was decidedly
a disappointment to fans, not the least because, at barely an hour and a half,
it seemed too much of a rush job. There is something to this: the plot so
remedial and, occasionally, meandering, it required the talents of Jamie Lee
Curtis to pull it off; arguably, her presence in the film the only logical
reason to see it. Originally, Curtis had expressed a strong desire to work
together again with John Carpenter. Carpenter was, in fact, willing to partake.
However, his fee of $10 million proved something of a deterrent; the stalemate
between Carpenter and Moustapha Akkad begun so many years before (Carpenter
believing Akkad had gipped him out of royalties owed on the original film)
intact. Under Miner’s direction H20 jettisoned all acknowledgements to
series 4-6, purging any references to Jamie Lloyd; Laurie’s daughter,
originally meant to be confirmed deceased in the earlier planned prologue to H20. Even though Halloween H20 turned a considerable profit, the general consensus
among even some of its most hardcore fans was the producers had sold the
franchise out prematurely.
The original series had its final bow with Halloween: Resurrection (2002) directed by Rick Rosenthal, who had
not attempted another installment since his superb first sequel; Halloween II. Maintaining the continuity of H20’s timeline, the Larry Brand/Sean
Hood screenplay also avoided references to series 4-6; concentrating on
Michael’s vial rampage on his childhood home, derelict and being used for a
live internet horror podcast. The beginning to Resurrection makes
absolutely no sense at all: a false revelation; that the person wearing the
mask and outfit at the end of H20
was not Michael Myers, but actually a paramedic Laurie accidentally decapitated
instead of her psychotic brother. The cumbersome machinations concocted by
Brand and Hood to ensure this outcome, having already left behind a sour taste
on the palette, Resurrection now succumbs to a lethal dose of ennui and déjà vu.
In place of exposition, Rosenthal returned us to the hospital setting from Halloween II as Michael once again
inflicts death upon the unsuspecting staff at Haddonfield General.
Perhaps the biggest transgressor in the entire franchise, Halloween: Resurrection allows Michael
his murderous élan; the killing of Laurie Strode whom he tosses off the
hospital’s rooftop. His mission complete, and Rosenthal left without a purpose
to carry on, Resurrection falls back on the overused and formulaic prospect
of six college students - Bill Woodlake (Thomas Ian Nicholas), Donna Chang
(Daisy McCrackin), Jen Danzig (Katee Sackhoff), Jim Morgan (Luke Kirby), Rudy
Grimes (Sean Patrick Thomas), and Sara Moyer (Bianca Kajlich) winning a
competition to appear on an Internet reality show, directed by Freddie Harris
(Busta Rhymes) and his assistant, Nora Winston (Tyra Banks). The plot of this
show within a show is for each character, affixed with head cameras, to explore
the old Myer’s house in search of clues to unlock the mystery behind Haddonfield’s
most notorious serial killer. Given the relative smallness of the property, it
makes even less sense for this troop of bravely stupid kids to separate into
three groups to cover ‘more terrain’. Seemingly oblivious to the fact they are
on live internet, Donna and Jim decide to sex it up in the basement. Before
anything can happen, a wall filled with corpses buckles and falls on top of them.
Initially overwhelmed by the occurrence, upon closer inspection Jim realizes
the bodies are actually mannequins and wisely deduces the whole premise for the
show is a silly ruse.
He storm off. Donna, however, notices a concealed tunnel behind the
collapsed wall, exploring the narrow dark passage with her head cam on, only to
realize too late she is being stalked by Michael, who promptly impales her on a
spike in the wall. Sara’s friend, Myles Marton (Ryan Merriman), who has been
watching the broadcast at a nearby Halloween party, is unable to convince the
other revelers in his midst that the murder he has just witnessed is real.
Meanwhile, the show’s director dresses as Michael to spice up the broadcast;
quite unaware he is Michael’s next intended victim.
From here on in, Halloween:
Resurrection degenerates into the sort of grim gore-fest we’ve come to
expect from other horror movie franchises; the body count mindlessly and
exponentially rising without any real purpose except to repulse. In hindsight,
this film may be viewed as a precursor to Rob Zombie’s grotesque and
un-suspenseful reboots. To those expecting a more complete and concise assessment
of the plots of either Zombie’s remakes, I’ll simply apologize forthwith and
state that I hold neither film in very high – if any – regard. They are commercially orchestrated for maximum revulsion;
the murders so violent as to the point of rendering them pointless, mere exercises
in gruesome frivolity; because a present day schlock-meister like Rob Zombie,
let loose in any SFX department, is always a dangerous proposition.
If only Zombie had not chosen to muddy the waters of his Halloween (2007) with more than blood
and guts; his pop psychoanalytic critiquing of Michael’s warped mind rehashed
and then hacked together with all the implicit medical comprehension of a first
year pre-med student; then again, I suspect I ought to have known better. We are and, after all, talking about the
same director who gave us the ghoulish House
of 1000 Corpses (2003) and The
Devil's Rejects (2005); two of the most repugnant ‘snuff’ movies masquerading
as camp horror. There’s just nothing
here for the viewer who has even a shred (pun intended) of morality left;
Zombie brutalizing his audience with fancifully graphic nonsense; his unbridled
ability to simultaneously rape our sight and insult our intelligence knows no
boundaries. If anything, Zombie’s Halloween
II (2009) is an even grimmer affair. Having thoroughly violated all sense
of integrity in the first movie he has nowhere else to go, but deeper into the
warped cynicism and depravity of this raving psychotic. Just so we’re clear, I
was referring to Michael Myers here. Enough
said.
Now, how do these transfers look? Well, let’s just talk about the elephant
in the room first, shall we? The potential buyer of this 15 disc box set is
getting very little that is new. Yes, you read right. With the exception of the
extended cut of the original Halloween
in 1080p, the TV version of Halloween II
(presented alas only on DVD!!!) and the aforementioned ‘producer’s cut’ of Halloween
6, none of the discs in this box set are remasters of the previously
issued/independently minted offerings available from their respective
distributors for some time. This is great news for the first three movies, already
given a stellar release in hi-def. But it’s not so hot for The Curse of Michael Myers (1995), Halloween H20 (1998) or Halloween
Resurrection (2002).
These transfers, culled from Echo Bridge Entertainment are – in a word
(and, I’m being most kind here) – shoddy!
The quality, if I can even refer to it as such, is just a shade above bootleg.
This will undoubtedly leave some to question the integrity – if not the
marketing strategy – behind releasing a ‘comprehensive’ collection. And please,
let’s just set aside the notion this will be the one and only ‘last call’ and last word on Halloween. I can already see a re-remastered
box set to include brand new transfers of the aforementioned movies bungled
herein; also to include the extended work print editions (still absent) and a ‘new to Blu-ray’ edition of the TV
version of Halloween II (only given
a DVD release herein).
This set is, alas, a mixed blessing and, frankly, a waste of time for
anyone who couldn’t wait for these movies to get slapped together in a single,
and, very thin cardboard sleeve. The original Halloween is the remastered 35th anniversary transfer,
sporting radically different color balancing than its predecessor on Blu-ray. I
have to say, I much preferred the more fully saturated original Blu-ray to this
specimen; also in its more lavishly appointed extra features. Mercifully,
extras are one area where this box set does
excel. So expect all of the goodies from every previous edition ever made
available herein.
Disc specs are as follows: (1) and (2) theatrical and alternative cuts
of Carpenter’s Halloween – the image
quality less robust on disc 2 with less fully saturated colors and an ever so
slight image wobble. Discs (3) and (4): Halloween II – the theatrical on
Blu-ray; the TV version on standard DVD only. Aside: why?!?! Disc 5: the first
Frisbee, in my opinion: Halloween III:
Season of the Witch – great looking transfer of a still very mediocre and
non-related movie. Disc 6: Halloween 4:
The Return of Michael Myers; the image so sub-par it might as well have been
a DVD! Disc 7: Halloween 5: The Revenge of Michael Myers, a marginal improvement
over the aforementioned travesty, but still in no way replicating the
theatrical experience – not by a long shot!
Disc 8: Halloween: The Curse of
Michael Myers - Theatrical Cut: an obscenity made in the editing room and a
film only Myer’s own mother could love. Disc 9: Halloween: The Curse of Michael Myers Producer's Cut: ah yes, the
whole point for reissuing these films in one box: the bootleg work print,
remastered and looking pretty damn fine, prematurely hailed as a veritable
masterpiece. I’ll concede, it’s positively Shakespearean when directly compared
to the aforementioned theatrical cut. Disc
10: Halloween H20: 20 Years Later –
not the work print, but the theatrical, and still about as terrifying as
watching red picnic table varnish dry. Just a mid-grade hi-def transfer too,
with absolutely no oomph. Disc 11 - Halloween
Resurrection; sounding magnificent but looking as though its original
camera elements were force-fed through a meat grinder. Disc 12 - Rob Zombie's Halloween: no
comment. Disc 14 - Rob Zombie's Halloween 2: ditto. I should, in fairness, state that
both Rob Zombie movies don’t look all that great in hi-def: middling efforts on
two decidedly subpar installments in the franchise.
Extras: hold on to your socks and hose and pull. Disc 1: a new commentary
from Dean Cundey, editor/production designer, Tommy Lee Wallace and Nick ‘the
shape’ Castle. A second audio commentary
from Carpenter, and Jamie Lee Curtis. Herein, we get the stultifying ‘The
Night She Came Home’ documentary; basically a PR junket with Curtis
posing for photos with fans. At 60 minutes, it’s a snore. We also get On Location: 25 Years Later, ten minutes of blather and another
waste of my time. A minute of TV spots,
11 min. of deleted scenes, a three minute trailer and we’re done.
Disc 2: another audio Commentary, this one the cream of the jest with
Carpenter, the late Debra Hill and Curtis affectionately waxing from 2007. Halloween: A Cut Above the Rest: the
superior 87 minute documentary from 2003 with retrospective footage and
interviews: a must have for any
Halloween aficionado. A film fact track,
more TV and radio spots and an alternative trailer. Ho-hum and yawn!
Disc 3 – Two independent audio commentaries for Halloween II: the first with Rick Rosenthal and actor, Leo Rossi; the
second with actor/stunt coordinator, Dick Warlock. The Nightmare Isn't Over!: The Making of Halloween II: 45 minutes
and in HD no less, required viewing. Horror's
Hallowed Grounds: The Locations of Halloween II: a scant 13 minutes.
Also featured, 13 minutes of deleted scenes, an alternate ending, trailers, TV
& Radio Spots and a stills gallery.
Disc 4 - a PDF of the screenplay for Halloween II. Disc 5 - Halloween III: Season of the Witch: two
independent audio commentaries covering (and on occasion, defending the
decision to make a Halloween sequel
that really isn’t a sequel, but a cheap knock off attempting to capitalize on
the franchise’s success, borrowing the name only. Aside: the audio commentaries
are more interesting than the movie. Stand Alone: The Making of Halloween III:
at 33 minutes, fairly comprehensive coverage on a truly forgettable movie.
Another episode of Horror’s Hallowed Ground, running 20 minutes. More stills, TV
spots and a trailer.
Disc 6 - Halloween 4: The Return
of Michael Myers: again, a pair of audio commentaries and a trailer. Disc 7
- Halloween 5: The Revenge of Michael
Myers: another pair of audio commentaries. Also, 16 min. of raw behind-the-scenes
footage, slap-happily intercut with cast interviews. An original promo and a
trailer too. Boo, to you! Disc 8 - Halloween: The Curse of Michael Myers
Theatrical Cut: 12 minutes of stills, 3 minutes of TV spots and three
trailers.
Disc 9 - Halloween: The Curse of
Michael Myers Producer's Cut: an audio commentary, plus an undervalued and
under-produced 19 min. featurette: Acting Scared: A Look at the Film's Cast.
Also: The Shape of Things – at 12 minutes, we get the woes of making
a movie when no one can agree on what the hell is going on. Haddonfield's
Horrors is 11 interesting minutes on the movie’s production design,
while A Cursed Curse is10 minutes and frankly, apologetic to the
point of being embarrassing. Full Circle: a snippet from composer
Alan Howarth, waxing affectionately about his career. Finally, we get
alternate/deleted scenes, and almost a half hour of archival interviews and
other behind-the-scenes footage: an impressive assemblage for what remains a
fairly unremarkable film – though, undeniably, a radically different one than
as it debuted in theaters.
Disc 10 - Halloween H20: 20 Years
Later: yep, you guessed it, another audio commentary. Actually, given the
subject matter, Jamie Lee Curtis has a lot of fun talking about this
ridiculously abysmal return to form.
Even more shocking: Blood is Thicker than Water: The Making of
Halloween H20: at 59 minutes (just 24 min. shorter than the movie) it
covers more ground and remains a better companion piece than the movie it’s
discussing. And whoa! – a half hour of
scenes with John Ottman's original score, plus 46 minute of behind-the-scenes
‘discussion’, plus the prerequisite TV spots and gallery.
Disc 11 - Halloween Resurrection:
wait for it – an audio commentary; 11
minutes of deleted scenes and alternate endings; 41 min. of the Web Cam footage
incongruously, pointlessly, and thoughtlessly re-edited with an optional
commentary from Rick Rosenthal, plus 36 min. of behind the scenes interviews,
and something to really cringe at – a head cam featurette where the cast are
assembled to rave about this movie within a movie plot device. Try selling crazy someplace else, fellas.
We’re all stocked up here!
Disc 12 - Rob Zombie's Halloween
with an audio commentary, 36 min. of deleted/alternate scenes/bloopers. A truly
horrendous featurette: The Many Faces of Michael Myers: 6
min. of my life I can never get back. Ditto for the 19 min. three part Re-Imagining
Halloween, the self-congratulatory ‘meet
the cast’ and ‘casting sessions’
featurettes; the last one running a paralytic 30 min. into abject tedium.
Disc 13 - Rob Zombie's Halloween
Bonus Disc: with the superior and mind-bogglingly lengthy Michael
Lives: The Making of Halloween. In HD and at 260 minutes, we are
immersed in 4.5 hours of Halloween lore.
This is about as comprehensive as movie docs get, folks. It’s longer than both
Rob Zombie movies put together! Disc 14
- Rob
Zombie's Halloween 2: oh no, more talking heads; Zombie in a commentary
track that goes nowhere fast. Ten minutes of audition footage. So how would you
like to be carved like a Thanksgiving turkey?
Deleted/alternate/blooper reel – nearly an hour to fatten the bill, but
alas, still starve the mind. Uncle Seymour Coffins' Stand-Up Routines
– don’t ask – and six music videos for white trash pop songs we can’t even
remember but sincerely wish we could forget.
Disc 15 - Additional Bonus Features: John Carpenter's 101 min cut of Halloween in 1080p – and about time
too. Halloween
Unmasked 2000: the 27 min. disposable retrospective, covering far too
much ground already covered elsewhere in this collection. Watch it when you’ve
nothing better on your viewing radar. Aside: there’s always something better on
your viewing radar! A minute sound byte from Moustapha Akkad. Really? We
couldn’t find any other venue to integrate this nothing of a moment?!? A 12
minute stills gallery…what? Again? Six minutes of interviews with the cast from
Halloween III and 2 min. devoted to
radio spots. The Making of Halloween 4: Final Cut: 17 minutes of…never mind.
The
Making of Halloween 4. In HD and running 48 minutes, fairly impressive,
given that the movie is less than. Six minutes of stills from Halloween
4. Fifteen minutes of babble from Moustapha Akkad, followed by yet
another junket: the 44 min. Making of Halloween 5. More stills
from Halloween
5: more Horror’s Hallowed Ground: Halloween 4: The Return of Michael Myers
(HD, 25:50); Halloween 5: The Revenge of Michael Myers (HD, 24:03); Halloween:
The Curse of Michael Myers (HD, 23:09); Pilot Episode: Halloween
(SD, 20:39) and last, the ‘Fan Edition’ Bus Tour (HD, 11:25).
Rounding out this disc: TV Spots for the rest of the movies in the franchise. Whew!
Done. No really and sincerely… done! And never again hopefully to discuss
anything quite so extensive or even remotely related to Halloween…until, perhaps, next year.
FILM RATING
(out of 5 – 5 being the best)
Halloween – 5+
Halloween (TV
cut) – 4.5
Halloween II –
4.5
Halloween II
(TV cut) - 4
Halloween III:
Season of the Witch - 1
Halloween 4:
The Return of Michael Myers - 2
Halloween 5:
The Revenge of Michael Myers – 2.5
Halloween: The
Curse of Michael Myers - 2
Halloween :
The Curse of Michael Myers (producer’s cut) – 3.5
Halloween H20
- 1
Halloween
Resurrection - 1
Halloween (Rob
Zombie) - 1
Halloween II
(Rob Zombie) – 1
VIDEO/AUDIO
Halloween – 5+
Halloween (TV
cut) – 5+
Halloween II –
5+
Halloween II
(TV cut) - 3
Halloween III:
Season of the Witch – 5+
Halloween 4:
The Return of Michael Myers – 2.5
Halloween 5: The
Revenge of Michael Myers – 2.5
Halloween: The
Curse of Michael Myers – 2.5
Halloween :
The Curse of Michael Myers (producer’s cut) – 5+
Halloween H20
– 2.5
Halloween
Resurrection - 3
Halloween (Rob
Zombie) - 4
Halloween II
(Rob Zombie) – 5+
EXTRAS
5+
Comments