Review of “Halloween”
Whilst people tend to die in the horror genre, the film franchises themselves seem to exhibit Frankenstein-like qualities, stumbling on endlessly, lurching forward without feeling, cold and unstoppable. Rob Zombie’s remake of John Carpenter’s classic Halloween is definitely one of these, an unimaginative tenth iteration of the series. It’s a real slasher affair with psychopath Michael Myers picking off teenage babysitters and their boyfriends whilst wearing a mask.
The story follows much the same path as the original, but adds a little background as to why young Michael (Daeg Faerch) needs to wear the masks that have now become synonymous with the genre. Michael’s family life is less than desirable, with Mum (Sheri Moon Zombie) a stripper, Stepdad (William Forsythe) a drunken foul-mouth, and older sister (Hanna Hall) an irresponsible teen. Michael is also bullied at school and the principal calls in a psychologist Dr. Loomis (Malcom McDowell). But it’s too late to stop Michael’s psychotic behaviour boiling over, and his urgent need to cut things up whilst hiding behind the protective force of a mask takes its toll on his school tormentors and his family, leaving only a baby sister to move with him into act two. Locked away for 15 years with Dr. Loomis and a collection of prison guards with bad skin for company, Michael grows and grows, and emerges a monster of a man, (now played by professional wrestler Tyler Mane) a mask maker who doesn’t speak. After a prison rampage, he escapes back to his hometown, looking for his sister whilst the police and Dr. Loomis try to hunt him down.
Zombie (real name Robert Cummings) is a heavy metal musician turned horror director, and there’s no doubt he can cut a slick scene. There are some nicely frightening moments for horror fans, and the set up to the story is an intriguing - if not particularly credible - addition to the original film. But the plot - full of holes the size of pumpkin and gratuitous nudity - becomes increasingly frustrating as Michael turns into a robotic force of bloody destruction, offering no possible angle for us to engage. He doesn’t speak, we never see his face and we are given no insights as to why he has returned– indeed why he does anything. Ultimately there is no character at home. John Carpenter’s original music is reprised and is about the best thing the film has to offer.
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