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Back in 1978 (yes, forty years ago), John Carpenter redefined the horror genre by giving us the first HALLOWEEN movie, and delivered us a movie slasher icon in the form of Michael Myers. In the decades that followed, several sequels were made, though none could match the impact of the original, and a few of them felt somewhat silly and forced. Rob Zombie attempted to reboot the concept, but his two films met with mixed reactions from audiences. Now, 40 years later, we’re getting yet another sequel, but one that ignores all those previous follow ups. The new HALLOWEEN has Jamie Lee Curtis back as Laurie Strode, who in this story has been waiting four decades for Michael Myers to escape prison, in the hopes she could definitively kill him. John Carpenter serves as executive producer and creative consultant this time, along with composing the score for the film, with David Gordon Green (STRONGER, PINEAPPLE EXPRESS) in the director chair.

In modern day Haddonfield, the legend of Michael Myers has faded as multiple generations have moved on and lived their lives without fear, save for Laurie Strode, who has spent four decades stockpiling weapons and training herself to kill with perfection. Even though Michael seems safely locked away in a maximum security prison, under close watch from a oddly over-attentive prison doctor, Laurie just can’t shake the feeling that at some point evil will escape and come back. Tension builds when two reporters visit the prison hoping to “speak” with Michael, even showing him the mask he wore all those years ago… but the silent killer just quietly oozes intimidation. Laurie’s fear is compounded by the fact that she now has an adult daughter Karen (Judy Greer), and a teenage granddaughter Allyson (Andi Matichak), neither of which seems to take her seriously. During an unnecessary but inevitable prison transfer, the bus holding Michael crashes, and we’re off to the races. And of course Michael escape just so happens to lead into Halloween night. As Laurie’s biggest fears come true, the town of Haddonfield is not prepared for what’s about to hit them.

David Gordon Green has proven himself quite the chameleon behind the camera, very capable of handling everything from broad comedy to heartwarming drama. One thing he brings to this production is tension and a sense of dread, which makes this horror movie feel more sincere than most horror films of recent years. It’s not just about capturing the spirit of what John Carpenter did all those years ago, it’s remembering what makes scary movies effective and memorable. And the narrative in the film is surprisingly simplistic, going back to the roots of old school horror. Sometimes a slasher movie works when it’s just a slasher movie and doesn’t try to be anything else. The screenplay comes from Green, Jeff Fradley (VICE PRINCIPALS) and Danny McBride (who also wrote on VICE PRINCIPALS in addition to starring in it), which might be surprising to some as there are very few humorous moments in the production, these guys crafted a terrifying experience for classic fans, and it’s admirable just how well it works.

Make no mistake, this is a showcase for Jamie Lee Curtis, as well it should be. There are moments early in the film where it looks like she may be more of a background character, but as the action ramps up, it’s clear she’s still the principal role. Remember how pleasantly surprising it was seeing Linda Hamilton transform into a human wrecking ball in TERMINATOR 2? This movie is that for Curtis, and it’s great to see unfold. Judy Greer has significant screen time as Laurie’s daughter, the middle generation of the Strode clan who despite the extensive survival training in her younger years is the biggest doubter of her mom. Newcomer Andi Matichak, playing the granddaughter, shows some suspicion that her grandma might have good reason to feel the way she does, but ultimately turns into more of a scream queen running away from the looming terror. All of this leaves Curtis with time to shine, making it clear the filmmakers understood she needed to stay the star here, and we’re all better for it. Will Patton plays the town sheriff, who (in character) has connections to the original story and Laurie, but doesn’t get much to do other that hunt down Michael with his gun drawn, and exhibit a look that says he knows they’re all likely doomed. Nick Castle (who was the original Michael Myers, reprising his classic role here) is behind the mask in certain scenes, and it’s great to know he returned as well, though certain shots required the character of Michael to loom large, or move fast, and those shots are definitely a new performer (James Jude Courtney), but the personification of Myers is handled beautifully. Sometimes, especially in movies like this, body language is everything and can really make or break the killer… Michael Myers is terrifying here, all without being overstated. The only character that seems like a major misfire is Dr. Sartain, played by Haluk Bilginer. It seems like a half-hearted attempt at a modern day Dr. Loomis character, but it never really clicks. And the final resolve of that character is risky and ultimately fails to feel necessary.

Overall the new HALLOWEEN works quite well for what it is, save for a few awkward moments in the final act. There’s a point where the setting changes dramatically and the movie becomes a different sort of story, kind of a tables are turning concept that almost derails the good aspects of the product. But those final fight scenes are still a blast to watch, and you’ll cringe in fear all the way up until the end, which to me is the sign of a good horror film. It will be interesting to see if they attempt to start a new franchise with this film, as the final shot definitely lends itself to a further narrative. I’ll just say this, if you loved the original film, there’s enough here to make you happy without blowing you away, and also without taking too many risks for a new generation. And as a true spiritual sequel to the original, this is the first time I think we’ve seen something that really feels connected in a sincere way. Oh, and did I mention the new John Carpenter score? Because it’s terrific, and it’s amazing how well that theme still works. It could be said or assumed that Carpenter’s presence on set and in the post-production room may be what puts this over the top, or at the very least is a secret ingredient that makes this attempt such a tasty treat.

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