Pure and simple, this movie is an unadulterated mess. Coming six years after the sloppy fifth film, the Halloween series had certainly seen its better days as it changes hands to yet another production company, this time the genre upstart Dimension Films. Halloween: The Curse of Michael Myers also is notable for being one of the most awkwardly put together films courtesy of studio or dumbass filmmaker interference and even spawned its own alternate cut which ran rampant on VHS many years ago as the “Producers’ Cut.” Just like any relationship, this movie has a lot of baggage. And I have a love/hate relationship with it.
Remember the relative simplicity of the story in the original film? Yeah, Michael Myers apparently murdered that as well as the six in the title. Jamie Lloyd returns for a brief moment to birth a child that may or may not be Michael’s (creepy!). The town of Haddonfield has banned Halloween since its latest bloodbath six years ago (or is it five?). Laurie Strode’s previously unmentioned uncle John Strode has now moved his family into the old Myers house. His daughter Kara (Marianne Hagan) has recently moved back in with her young son Danny for reasons unmentioned. Across the street in a boarding house lives Tommy Doyle (Paul Rudd) who has been obsessed with Michael after his encounter Halloween night many years ago. Dr. Loomis (Donald Pleasence) is apparently retired and nowhere near as enthusiastically crazy as before. All of these kooky characters merge together though as Michael reappears to help reduce the dumb character population.
I have much appreciation for the one credited writer of this film, Daniel Farrands. We’re far removed from the greatness of the original but you can tell that Farrands is not only a fan of the series but understands what a Halloween movie needs. Sadly, the behind-the-scenes shenanigans undermine some of the story but for most of the first fifty minutes or so, Curse has what should be standard in a slasher film, namely decently drawn characters and tense sequences showcasing its main psychopath. I must also acknowledge Joe Chappelle (yes, the one who also did Phantoms) who has a keen visual eye for shots and sequences that go hand-in-hand with the best of the sequels. Yet, allegedly this is the same Joe Chappelle (along with the always menacing studio suits) who absolutely destroyed the final act of the film. We can’t win them all I guess.
The film does much to correct problems with the last, especially as it comes to creating the best autumn atmosphere of the entire series (original included) and ditching the gothic Myers mansion for a quaint little suburban house more similar to the original. Even though some of the characters are completely worthless and/or assholes, most of the others are fleshed out enough to care about when the Boogeyman comes knocking. A stilted performance here and there (cough, Rudd!) results in some occasional bumps in the narrative but not enough to derail your enjoyment. Until the final act that is.
While I haven’t seen the Producers’ Cut, the reported major differences start as Kara (and all common sense from the film I suppose) is flung out of a window. This is painfully apparent as the relative successes of the beginning are maimed like Myers going after a group of random doctors and nurses for no explicable reason. All of the sudden it seems, Alan Howarth’s creepy recalling of the series’ theme is replaced with screeching guitars and the delightfully tense moments from before are replaced with other random shit for no other reason than to make it “cool.” Granted there are some good moments in the final act (I especially enjoy Rudd’s facial expressions when coming across Myers) but so much is done that tonally does not match the rest of the film nor does it make a lick of sense.
For every effective kill sequence the know-it-alls counter with a head exploding because, well we all expect that from a Halloween film. For all the eery slo-mo shots of Tommy walking past the 90s version of #OccupyHaddonfield, we are treated with dumb shit like a little girl saying “It’s raining. It’s raining red. It’s warm.” And for every moment of Danny being a creepy little kid we get this crap about Michael being controlled by Druids and a specific constellation. Even with its faults, there are far too many great moments here to dismiss this one as crap. It may not be as effective a sequel as Part 4 but you get the feeling that at least someone tried to make a worthwhile film.
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